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Early Scottish melodies:including exarnpl
3 1924 022 326 353
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Early Scottish Melodies.
WILLIAM M c QIBBON,
Obilt '75^>-
Early Scottish Melodies :
INCLUDING EXAMPLES FROM MSS. AND EARLY
PRINTED WORKS, ALONG WITH A NUMBER
OF COMPARATIVE TUNES, NOTES ON
FORMER ANNOTATORS, ENGLISH
AND OTHER CLAIMS, AND
BIOGRAPHICAL
NOTICES,
Etc.
WRITTEN AND ARRANGED
BY
JOHN GLEN.
"Facts are chiels that winna ding,
And downa be disputed." — Burns.
EDINBURGH :
J. & R. GLEN, NORTH BANK STREET.
1900.
A. \-\ i,:>fc*
EIiIMBUEGH 5
PRINTED BY DAVID MACDOKALD, 42 HA.NOVER STBEET.
[ALL SIGHTS RESERVED.]
TO
SIR ALEXANDER C. MACKENZIE,
MUS. DOC,
principal of the royal academy of music,
this volume is dedicated
(with permission)
BY
THE AUTHOR.
#
PREFACE.
In placing this volume before the public, we have little doubt that many
may think it uncalled for. Our Scottish Songs have already been published
in so many and so varied forms, that any further issue may well seem
superfluous. Our intention, however, is not to add to the number of these
editions, but to reclaim Melodies which primarily and properly belong to
Scotland, and to renounce others erroneously supposed to be Scottish produc-
tions. The necessity for such a work will be apparent when it is understood
that a considerable number of our National Melodies have been claimed
for England, while on the other hand many Anglo-Scottish tunes manu-
factured in London and elsewhere for the English market, have found
admittance into our National Collections, and so given rise to perplexities
and misunderstandings. One great transgressor in the domain of Scottish
Song is the late William Stenhouse, whose work, " Illustrations of the Lyric
Poetry and Music of Scotland," contains many errors of this and other
descriptions. We may well believe that this Author sinned chiefly in
ignorance, or at worst, in carelessness, but as he is frequently accepted
as an authority, it becomes a matter of importance to indicate, and as far
as possible correct, his numerous inaccuracies, all the more because many
later annotators have quoted largely from his pages without taking trouble
to verify his statements or to collate them with original sources of
information. Another offender is the late William Chappell, who, in his
otherwise admirable work, " Popular Music of the Olden Time," appropriates
as English Melodies a number of undoubtedly Scottish Tunes simply
because they happened, for reasons hereafter explained, to be first published
viii PREFACE.
in London. These London Collections included also a quantity of the spur-
ious Anglo-Scottish species, which heing performed at Vauxhall and other
places of entertainment, and circulated in their printed form in Scotland
as well as England, naturally gave rise to the errors and misunderstandings
already alluded to. In the following pages an effort has heen made to
dispose of many ahsurd allegations which have gained credence on both
sides of the Border. Our purpose is not to assert, but to convince, by
furnishing appropriate evidence for the statements which we shall bring
forward. Whether we succeed or fail, we shall at least have the
consciousness of having made an honest effort, and shall leave the result
to the judgment of our readers.
We have to acknowledge our indebtedness for aid and information to
Mr Frank Kidson, Leeds; Mr T. W. Taphouse, Oxford; Mr Alfred Moffat;
Mr A. AY. Inglis, Edinburgh ; and other Gentlemen, for whose kind and
cordial assistance we tender our warmest thanks.
30th November 1900.
CONTENTS.
CHAPTER I.
PAGE
Scottish Melodies 1
CHAPTER II.
Annotators on Scottish Melodies 3
CHAPTER III.
Manuscripts and Early Printed Works 9
CHAPTER IV.
William Chappell 14
CHAPTER V.
English Claims - - 24
CHAPTER VI.
The Scots Musical Museum - - 60
CHAPTER VII.
Early Scottish Musicians and Engravers 244
APPENDIX - 261
INDEX - 265
INDEX OF COMPARATIVE AND REFERENCE TUNES 271
BIBLIOGRAPHY
OF
MANUSCRIPTS AND PRINTED WORKS
IN CHRONOLOGICAL ORDER.
The Dates of those works within Brackets have been definitely ascertained, and
those with an Asterisk prefixed are in our possession.
Rowallan Manuscript, circa 1625.
Straloch Manuscript, 1627-29.
Skene Manuscripts.
Guthrie Manuscript.
Blaikie Manuscript.
Leyden Manuscript.
Hume (Agnes) Manuscript.
*Sinkler (Margaret) Manuscript.
Waterston Manuscript.
M'Farlan Manuscript.
"Vox Borealis, or the Northern Discoverie." London, 1641.
The English Dancing Master, 1651. — The Dancing Master, or Directions for
Dancing Country Dances, with the Tunes to each Dance, etc., 1652, 1665,
1670, 1686. By John Playford, London : and later editions by his son and
successors.
A Booke of New Lessons for the Gittern .- Containing many New and Pleasant
Tunes, both Easie and Delightfull for' all Young Practitioners. John
Playford, London, 1652.
Musick's Hand-maide presenting New and Pleasant Lessons for the Virginals.
John Playford, London, 1663 and 1678.
Musick's Delight on the Cithren, Restored and Refined to a more Easie and
Pleasant Manner of Playing than formerly : etc. John Playford, London,
1666.
Musick's Recreation on the Viol, Lyra-Way. Being a new Collection of Lessons
Lyra-Way, etc. John Playford, London, 1669 ; another edition, John
Playford, London, 1682.
Choice Ayres & Songs to sing to the Theorbo Lute or Bass Viol. Book I. first
edition 1673. Book I. 1676. B. II. 1679. B. III. 1681. B. IV. 1683.
B. V. 1684. John Playford, London.
xii BIBLIOGKAPHY.
Cantus, Songs, and Fancies, to several Musicall Parts. Both Apt for Voices and
Viols, etc. John Forbes, Aberdeen, 1682.
*Apollo's Banquet : containing Instructions, and Variety of New Tunes, Ayres,
Jiggs, and several New Scotch Tunes for the Treble- Violin. To which is
added, The Tunes of the new French Dances, now used at Court and in
Dancing-Schools. The 5th Edition, with new Additions. John Playford,
London, 1687.
*Collection of Original Scotch-Tunes, (Full of the Highland Humours) for the
Violin : Being the First of this Kind yet Printed : Most of them being in
the Compass of the Flute. Henry Playford, London, 1700.
Wit and Mirth : or Pills to Purge Melancholy ; Being a Collection of the best
Merry BaUads and Songs, Old and New. T. D'Urfey. 6 vols. 1719-1720
(reprint). J. Tonson, London.
*Scots Songs. By Allan Ramsay. The Author, Edinburgh, 1720.
*Orpheus Caledonius, or a Collection of the best Scotch Songs set to Musick by
W. Thomson. The Author, London, n.d. (1725).
Musick for the Scots Songs in the Tea-Table Miscellany. Allan Ramsay,
Edinburgh, n.d.
A Collection of Original Scotch Tunes for the Violin. The whole Pleasant and
Comicall being full of the Highland Humour. John Young, London, n.d.
*The Beggar's Opera. Written by Mr Gay. John Watts, London, 1728.
*The Quaker's Opera. J. Roberts, London, 1728.
*The Musical Miscellany ; Being a Collection of Choice Songs set to the Violin
and Flute. By the most Eminent Masters. John Watts, London, 1729.
*The Village Opera. Written by Mr Johnson. J. Watts, London, 1729.
*The Cotter's Opera. T. Wood, London, 1729.
*Polly, an Opera. Being the Second Part of the Beggar's Opera. Written by
Mr Gay. T. Thomson, London, 1729.
Momus Turn'd Fabulist ; or, Vulcan's Wedding. J. Watts, London, 1729.
*The Beggar's Wedding. A new Opera. By Mr Char. Coffey. 2nd edition.
Jas. & John Knapton, London, 1729.
*A Collection of the Choicest Scots Tunes adapted for the Harpsicord or Spinnet
and within the Compass of the Voice Violin or German Flute. By Adam
Craig, Edinburgh, n.d.
The Chamber Maid a Ballad Opera. J. Watts, London, 1730.
The Lover's Opera. By W. R. Chetwood. J. Watts, London, 1730.
Aria di Camera, being a Choice Collection of Scotch, Irish & Welsh Airs for the
Violin and German Flute. By the following Masters. Mr Alexander
Urquahart of Edinburgh Mr Derm 1 - O'Connar of Limrick. Mr Hugh
Edwards of Carmarthen. Dan. Wright & Dan.- Wright Junr., London,
circa 1730.
*The Jovial Crew, a Comic-Opera. J. Watts, London, 1731.
*Patie and Peggy ; or the Fair Foundling, a Scotch Ballad Opera. J. Watts,
London, 1731.
*The Highland Fair : or, Union of the Clans, an Opera written by Mr Mitchell.
J. Watts, London, 1731.
*Silvia; or, the Country burial, an Opera. J. Watts, London, 1731.
Flora, an Opera. Lond. 1732.
*Orpheus Caledonius : or, A Collection of Scots Songs. Set to Musick. By
W. Thomson. 2 vols (second edition). Author, London, 1733.
*The British Musical Miscellany ; or, the Delightful Grove : Being a Collection
of Celebrated English and Scotch Songs, By the Best Masters, Set for the
Violin, German Flute, the Common Flute, and Harpsicord. 6 vols. J.
Walsh, London, n.d. (1734).
■"Caledonian Country Dances. Being a Collection of all the Celebrated Sootch
BIBLIOGRAPHY, xiii
and English Country Dances now in Vogue, with Proper Directions to each
Dance. Perform'd at Court, and Publick Entertainments. For the
Harpsichord, Violin, Hoboy, or German Flute. J. Walsh, London, n.d.
■"The Tea-Table Miscellany: or a Collection of Scots Sangs, etc. The Tenth
Edition. Being the Whole that are contain'd in the Three Volumes just
Published. By Allan Ramsay. George Risk, Dublin, 1734. Title of
Third Volume, " A Collection of Celebrated Songs."
*Airs for the Flute With a Thorough Bass for the Harpsichord. Alexr. Baillie,
Edinburgh, 1735.
♦Calliope or English Harmony A Collection of the most Celebrated English and
Scots Songs. 2 vols. John Simpson, London, n.d.
*A Curious Collection of Scots Tunes for a Violin Bass Viol or German Flute,
with a Thorough Bass for the Harpsichord, etc. By James Oswald,
Musician in Edinr., n.d. (1740).
*A Collection of Curious Scots Tunes for a Violin German Flute or Harpsichord.
By Mr James Oswald. 2 vols. J. Simpson, London, n.d. (1742).
*A Collection of Scots Tunes some with Variations for a Violin Hautboy or
German Flute with a Bass for a Violoncello or Harpsichord. By William
M'Gibbon. Richard Cooper, Edinburgh, 1742, 1746, 1755.
*The Caledonian Pocket Companion. By James Oswald. 12 Books. J.
Simpson, and J. Oswald, London.
* Twelve Scotch and Twelve Irish Airs with Variations Set for the German
Flute Violin or Harpsichord, by Mr Burk Thumoth. J. Simpson, London,
n.d.
♦Twelve English and Twelve Irish Airs with Variations, Set for the German
Flute, Violin or Harpsichord By Mr Burk Thumoth. Book the Second.
J. Simpson, London, n.d.
*A Collection of Old Scots Tunes. With a Bass for Violoncello or Harpsichord.
Set and most humbly Dedicated to the Right Honourable The Lady
Erskine by Francis Barsanti. A. Baillie, & Messrs Hamilton & Kincaid,
Edinr., n.d. (1742).
♦Twenty Four Country Dances for the year 1750. Da v. Rutherford, London.
♦Country Dances Selected As performed at Court and all Publick Assemblies
and Entertainments. For the Harpsichord, Violin, German Flute, or
Hoboy.. J. Walsh, London, n.d.
♦Thirty Scots Songs for a Voice & Harpsichord. The Music taken from the
most genuine Sets 'extant ; The Words from Allan Ramsay. R. Bremner,
Edinburgh, n.d. (1757).
♦A Second Set of Scots Songs for a Voice & Harpsichord. R. Bremner,
Edinburgh, n.d. (1757).
♦A Collection of Scots Reels or Country Dances. With a Bass for a Violincello
or Harpsichord. Robert Bremner, Edinburgh, n.d.
*A Collection of 43 Scots Tunes with Variations. Particularly Adapted for the
Violin and Harpsicord. By James Oswald. J. Bland, London, n.d.
*A Collection of the Best old Scotch and English Songs set for the Voice with
Accompaniments and Thorough-Bass for the Harpsichord, etc., by James
Oswald Chamber Composer to His Majesty. J. Oswald, London, n.d.
Compleat Collections of 200 Country Dances 4 volumes published by the
Thompsons London n.d. circa 1758 to 1780.
♦Country Dances Selected As Perform'd at Court and all Publick Assemblies
and Entertainments, etc. J. Walsh, London, n.d., cir. 1760.
♦Part I., Vol. 2. Caledonian Country Dances. 4 Books or Volume I., circa
1748. Vol. II. consisted probably of other 4 Books, circa 1760. As it is
said to have extended to 10 Books, we presume one or both of the latter
were published by J. Walsh's successor, William Randall.
xiv BIBLIOGKAPHY.
*Fifty Favourite Scotch Airs. Tor a Violin, German Flute and Violoncello.
With a Thorough Bass for the Harpsichord, etc. By Francis Peacock.
The Publisher, Aberdeen, n.d. (1762).
*M'Gibbon's Collection of Scots Tunes for a Violin or German Flute with a
Bass. Robt. Bremner, Edinburgh, n.d. (1768).
*A Collection of Scots Songs Adapted for a Voice and Harpsichord. Neil
Stewart, Edinburgh, n.d. (1772).
*Thirty Scots Songs Adapted for a Voice and Harpsichord. The Words by
Allan Ramsey. N. Stewart & Co., Edinburgh, n.d.
*Thirty Scots Songs Adapted for a Voice and Harpsichord. The Words by
Allan Ramsey. N. Stewart, Edinburgh, n.d.
Vocal Music or the Songsters Companion. Editions 1772, 1775. Robt.
Horsfield, London, and Selection from the First and Second Volumes.
J. Bew, London, n.d. (1778).
Mores Musicse or the Scots Musician. J. Clark, Edinburgh (1773).
*Ancient and Modern Scottish Songs, Heroic Ballads, etc. In two volumes.
(David Herd). James Dickson and Charles Elliot, Edinburgh, 1776.
*A Collection of Ancient Scots Music for the Violin Harpsichord or German
Flute. Never before Printed Consisting of Ports Salutations Marches or
Pibrachs &c. By Daniel Dow, The Publisher, Edinburgh, n.d.
*A New & Complete Collection of the most Favourite Scots Songs Including a
few English & Irishwith proper Graces and Ornaments peculiar to their
Character, likewise the new method of Accompanyment of Thorough Bass.
By Sigr Corri. 2 Books. Corri & Sutherland, Edinburgh, n.d. (1783).
*A Collection of Strathspey Reels. With a Bass for the Violoncello or
Harpsichord by Alexander M'Glashan. Neil Stewart, Edinburgh, n.d.
(1780).
*A Choice Collection of Scots Reels or Country Dances & Strathspeys. With a
Bass for the Violincello or Harpsichord. Robert Ross, Edinburgh, n.d.
(1780).
*A Collection of Strathspey Reels. With a Bass for the Violoncello or
Harpsichord. Composed by Wm. Marshall. Neil Stewart, Edinburgh,
n.d. (1781).
*A Collection of Scots Measures Hornpipes Jigs Allemands Cotillons. And the
fashionable Country Dances with a Bass for the Violoncello or Harpsichord.
By Alexander M'Glashan. N. Stewart, Edinburgh, n.d. (1781).
*A Collection of the Newest & best Reels and Minuets; with Improvements
Adapted for the Violin or German-flute, with a Bass for the Violoncello or
Harpsichord. By Joshua Campbell. J. Aird, Glasgow, n.d. (1779).
*A Collection of Scots Reels Minuets &c. For the Violin, Harpsichord, or
German Flute. Composed by John Riddell in Ayr. Second Edition.
James Aird, Glasgow, n.d. (1782).
*A Collection of the most Favourite Scots Tunes. With Variations for the
Harpsichord by A. Reinagle. James Aird, Glasgow, n.d. (1782).
*A Collection of Strathspeys or Old Highland Reels by Angus Cumming, at
Grantown in Strathspey. James Aird, Glasgow, n.d.
*A Selection of Scotch, English, Irish, and Foreign Airs Adapted to the Fife,
Violin, or German-Flute. 6 vols. James Aird, Glasgow, n.d. (1782-1803).
*Thirty New Strathspey Reels for the Violin or Harpsicord. Composed by
Isaac Cooper. James Imlach, Banff, & Rt. Bremner, Edinburgh (1783).
*A Collection of Highland Vocal Airs. Never hitherto published. To which
are added a few of the most lively Country Dances or Reels, of the North
Highlands, & Western Isles ; And some specimens of Bagpipe Music. By
Patrick M'Donald. Corri & Sutherland, Edinburgh, n.d. (1784.)
*A Collection of Strathspey Reels with a Bass for the Violoncello or Harpsichord,
BIBLIOGEAPHY. xv
etc. By Niel Gow at Dunkeld, n.d. (1784). Second Collection, n.d. (1788).
Third, n.d. (1792). Fourth, n.d. (1800). Fifth, n.d. (1809). And Sixth
Collection, (1822). Corri & Sutherland Edinr., The Author at Dunkeld,
Gow & Shepherd, & Nathl. Gow & Son.
Edinburgh Magazine, 1785.
*The Musical Miscellany : a Select Collection of the most approved Scots,
English, <fe Irish Songs set to Music. J. Brown, Perth, 1786.
*New Music for the Pianoforte or Harpsichord; Composed by a Gentleman
(Capt. Robert Riddell), consisting of Reels, Minuets, Hornpipes, Marches
and two Songs in the Old Scotch Taste, with variations to five favorite
Tunes. James Johnson, Edinburgh, n.d. (1787).
A Favourite Collection of Scots Tunes & Highland Airs For the Violin or
German Flute. With a Bass for the Violoncello or Harpsichord. By W.
M'Gibbon, J. Oswald, & others. James Aird, Glasgow, n.d, circa 1787.
*The Scots Musical Museum. Humbly dedicated to the Catch Club. Instituted
at Edinr. June 1771. By James Johnson. 6 vols. Johnson, Edinburgh,
n.d.
*Calliope : or, the Musical Miscellany. A Select Collection of the most
approved English, Scots, and Irish Songs, Set to Music. C. Elliot & T.
Kay, London; 1788.
The Hibernian Muse, a Collection of Irish Airs. Thompsons, London, n.d.
*A Selection of the most Favourite Scots Songs chiefly Pastoral. Adapted for
the Harpsichord, with an Accompaniment for a Violin. By Eminent
Masters, etc. 3 vols. William Napier, London, n.d.
*A Selection of Scots Songs Harmonized Improved with Simple and Adapted
Graces, etc., by Peter Urbani. Author, Edinburgh, n.d
*A Select Collection of Original Scottish Airs for the Voice, with Introductory
& Concluding Symphonies and Accompaniments for the Pianoforte, Violin
& Violoncello. By Pleyel Kozeluch & Haydn. 6 vols. George Thomson,
Edinburgh.
*Scottish Song in Two Volumes. (Ritson.) J. Johnson, London, 1794.
*Dale's Collection of Sixty Favourite Scotch Songs, Adapted for the Voice &
Pianoforte or Harpsichord. 3 vols of 60 each. London, n.d.
* A General Collection of the Ancient Irish Music, containing a variety of
Admired Airs never before published, and also the Compositions of Conolan
and Carolan, etc. Preston & Son, London, n.d. (1796).
Dale's Collection of English Songs. London, n.d.
*A Complete Repository of Original Scots Slow Strathspeys and Dances, &c, by
Niel Gow & Son's, n.d. Part I. (1799). Part II. n.d. (1802). Part III.
n.d. (1806). Part IV. n.d. (1817). Gow & Shepherd, Edinburgh.
*A Selection of Irish and Scots Tunes, consisting of Airs, Marches, Strathspeys,
Country Dances, &c. Adapted for the Piano forte, Violin, and German
Flute. By John Macpherson Mulhollan. John Hamilton, Edinburgh,
n.d. (1804).
*A Collection of Strathspeys, Reels, and Irish Jigs, for the Piano-Forte &
Violin to which are added Scots, Irish, & Welch Airs Composed and
Selected By I. Cooper At Banff. London, Edinburgh, &c, n.d.
The Siller Gun. A Poem in four Cantos by John Mayne, 1808.
*Albyn's Anthology or A Select Collection of the Melodies and Vocal Poetry
peculiar to Scotland and the Isles. Hitherto unpublished. Collected and
Arranged By Alexander Campbell, etc. 2 vols. Oliver & Boyd, Edinburgh,
1816-18.
*The Airs and Melodies peculiar to the Highlands of Scotland and the Isles,
&c, &c. Edited by Captn. S. Fraser. The Editor, Edinburgh, n.d. (1816).
The Seraph, A Collection of Sacred Music. Button & Whitaker, London, 1818.
xvi BIBLIOGRAPHY.
The Siller Gun. A Poem in five Cantos by John Mayne. Thomas Cadell,
London, 1836.
*Ancient Scotish Melodies, from a Manuscript of the Reign of King James VI.,
etc. By William Dauney, Esq., F.S.A. Scot. Edinburgh, 1838
*The Songs of Scotland Adapted to their Appropriate Melodies. Arranged
with Pianoforte Accompaniments, etc. By G. F. Graham. 3 vols. "Wood
& Co., Edinburgh, 1848-9.
■"■Illustrations of the Lyric Poetry and Music of Scotland. By the late William
Stenhouse. Originally compiled to accompany the Scots Musical Museum,
etc. Wm. Blackwood and Sons, Edinburgh, 1853.
*The Petrie Collection of the Ancient Music of Ireland. Arranged for the
Piano-Forte. Edited by George Petrie, LL.D., R.H.A., V.P.R.I.A., etc.
M. H. Gill, Dublin, 1855.
*Popular Music of the Olden Time ; a Collection of Ancient Songs, Ballads, and
Dance Tunes, Illustrative of the National Music of England, etc. By
William Chappell, F.S.A. 2 vols. Cramer, Beale & Chappell, London,
n.d.
*Ancient Irish Music, comprising One Hundred Airs, hitherto unpublished
many of the Old Popular Songs and Several New Songs Collected and
Edited. By P. W. Joyce, LL.D., M.R.I.A. M'Glashan and GUI, Dublin,
1873.
•Traditional Ballad Airs. Arranged and Harmonised for the Pianoforte and
Harmonium, from copies procured in the Counties of Aberdeen, Banff, and
Moray, by W. Christie, M.A., and the late Wm. Christie, Monquhitter.
2 vols. Edmonston & Douglas, Edinburgh, 1876, 1881.
•Ancient Music of Ireland from the Petrie Collection. Arranged for the
Pianoforte by F. Hoffmann. Pigott & Co., Dublin, 1877.
*Biographical Dictionary of Musicians : with a Bibliography of English
Writings on Music. By James D. Brown. Gardner, Paisley & London,
1886.
Dictionary of Music and Musicians. 4 vols. George Grove. London, 1879-89.
Stories of Famous Song, by S. J. Adair Fitzgerald. Nimmo, London, 1897.
Note. — We have not included in our Bibliography the " Crockat MS." so often
quoted by Stenhouse. We have failed to find any trace of it, and
consequently cannot verify its contents.
The "Straloch," the "Blaikie," and the "Leyden" have proved
equally unattainable, but in each case we have seen trustworthy trans-
cripts of at least a portion of the contents.
It would be very desirable to ascertain where these MSS. (if still in
existence) can be found.
In quoting from Authorities, the original spelling has in all cases
been retained.
**N^»&*Jfc*«*
EARLY SCOTTISH MELODIES.
CHAPTER I.
SCOTTISH MELODIES.
Much has been written in the attempt to prove by analysis what are the
characteristic features of Scottish as opposed to English and Irish melody ;
but, notwithstanding this fact, no hard and fast rules can be drawn. Some
writers on the subject lay great stress upon scales, and imagine the ancient
scale of Scotland to have been pentatonic, relying on the supposition that
some instrument possessed only of five notes, or sounds, was formerly in use,
though they have failed to discover any such instrument. Without seeking
to enumerate in detail the musical instruments used in Scotland in early
times, we may state that among the more primitive were the harp, horn,
and pipe or bagpipe. The first of these, i.e. the harp, for some centuries
was strung with twenty-eight or thirty strings, and although it may or
may not have been tuned in accordance with modern methods, it was
at all events capable of producing all the sounds of our diatonic
scale. The horn, again, is understood to have been a small instrument
frequently referred to by early historians. It was a wind instru-
ment, from which — except it were constructed of long dimensions —
only two to five or six sounds could be produced. The tones it
emitted, being harmonic, were C G C E G C, which actually meant only
three distinct notes, the C's and G's being repeated in octaves. It was
consequently minus D F A B, the second, fourth, sixth, and seventh
intervals of the present gamut, and therefore could not furnish a pentatonic
scale. The pipe or bagpipe is a reed instrument, and whether it is blown
direct from the mouth, or inflated by means of a bellows, it has a scale of
nine notes, produced like those of other reed instruments by opening the
eight finger holes or ventages with which the pipe or chanter is furnished.
The gamut consists of the following notes, GAB CDEFGA, which
admit of no modification or change of any kind ; and the usual pitch of the
instrument is A major. We do not of course affirm that it possesses a
A
2 EARLY SCOTTISH MELODIES.
perfect scale in any key, and we may explain that neither of its two G's or
sevenths can be called natural, sharp or flat. The same holds good of
C, its third. Whether this be the reason why bagpipe music fails to be
universally appreciated we do not venture to say.
Chappell, while he admits that he never knew of any instrument
wanting either the fourth or seventh, far less both of these intervals of
the modern scale, hints that the collectors of Scottish music have
endeavoured to trace the origin of their melodies to some such ancient
instrument. He further says, "The Scotch Highland bagpipe has not
only a fourth, but also the two sevenths, major and minor, can be pro-
duced upon it." The bagpipe cannot therefore come under the designation
of a pentatonic instrument. In dismissing the imperfect instrument theory,
we do not deny that many Scottish melodies want either the fourth or the
seventh of the scale, and that others lack both of these intervals. The
following queries, nevertheless, still demand an answer: — Were our ancestors
incapable of singing any of the intervals of the scale, because on certain
occasions they did not make use of them ? Can it be asserted that the
use of the flat or minor seventh in many compositions shewed inability
to produce the sharp or major interval ?
Instead of discussing other characteristics of Scottish music, such
as the employment of the minor seventh, modulations, sequences, and
cadences, or closes, we shall rather point out the reason why the fourth
and seventh intervals of the scale were so sparingly used. In our
opinion, the basis or foundation of the Scottish scale consists of the first,
second, third, fifth and sixth intervals of the modern gamut, with the flat
seventh afterwards added, and we think that here is found the true
explanation of the predominating use of these intervals. In examining
Scottish airs in which the other two intervals occur, it will be observed in
many instances that they are merely passing notes, which could easily
be dispensed with, without injury to the melody. Another argument
that suggests itself is this : our old tunes were not intended for full
or intricate harmonies, and the five notes were easily accompanied by a
simple bass. The construction of the bagpipe scale, which we have already
given, also accounts for this in some measure ; for the notes it produces
are better suited to a drone accompaniment.
Many of our Scottish tunes terminate in intervals other than their
keynotes, but however uncouth such tunes may sound in the ears of those
accustomed to modern or classical music, should they try to alter or
attempt to make those melodies conform to the general rule, they would
simply spoil the character of the airs, and make themselves ridiculous.
With even these deviations from ordinary rules and distinctive features, it is
still a matter of difficulty to prove what constitutes a genuine Scottish
melody, for there is yet something in the nature of Scottish music which
appeals alone to a Scot, and which cannot be communicated, expressed, or
defined.
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CHAPTER II.
ANNOTATOKS ON SCOTTISH MELODIES.
It is unfortunate that we have almost no history, and scarcely any
record of our early musicians. There is evidence, however, that many of
them had gone south and apparently settled in London, — a fact of which
we are convinced from the number of Scots tunes published in that city,
before they made their appearance in a printed form in Scotland.
Passing over the musicians who were attached to the Court, as well as
those of the academic order, we mean rather to turn our attention to
those to whom we are indebted, either as composers, or at least as pre-
servers of many of our oldest national melodies. Whether our early airs
were composed by real shepherds, musicians, or persons of gentle blood, it
is now impossible to say; one thing, however, is certain, — that they were not
the productions of persons having any knowledge of rules as to the scales,
modes, modulations, and systems which regulate modern music. These
compositions were seemingly the spontaneous product of natural melody,
irrespective of any established principles whatever. In the course of our
research we have found the names of a number of musicians in various
records of the beginning of last century, but we have not been able to
acquire the least knowledge of their attainments. As teachers, or members
of some society, we know, however, that they were in the habit of giving
annual concerts as well as of accepting engagements to perform either as
vocalists or instrumentalists on other social occasions. Printed in the
"Transactions of the Society of Antiquaries of Scotland," vol. i., 1792,
William Tytler, Esq., of Woodhouselee, a musical amateur, informs us of
several musicians who took part in the Feast of St Cecilia, at the Gentle-
men's Concert in 1695, of whom he says Adam Craig was one of the
violinists, Matthew M'G-ibbon was "hautbois," and Daniel Thomson was
"trumpet," the two latter being the fathers of William' M'G-ibbon and
William Thomson, — M'Gibbon known as a violinist, and Thomson as a
vocalist and publisher of the Orpheus Caledonius.
In estimating the efforts of former annotators and essayists on the
4 EARLY SCOTTISH MELODIES.
subject of Scottish music, we shall begin with the dissertation of Tytler of
Woodhouselee, published in 1779. In so far as he has treated of the
national melodies, he has divided them into four epochs : (1) James I.
to James IV.; (2) James IV. to Queen Mary; (3) Queen Mary to the
Restoration; (4) The Eestoration to the Union of 1707. A number of the
tunes referred to by him can be traced back to the seventeenth century,
either in print or in manuscript, but others to which he assigns an earlier
origin have been derived only traditionally, and their dates are merely
conjectural. As to many of the tunes, we have no evidence except the
similarity of title to a song or dance mentioned by some historian Or
writer of or before the seventeenth century; but whether the original
melody be the' same as that now known we are left in doubt. Without
taking any notice of the foolish allegations that Rizzio was either the
composer or the improver of any of our melodies, Tytler proceeds to say,
" The most ancient of the Scottish (airs) songs, still preserved, are extremely
simple, and void of all art. They consist of one measure only, and have
no second part, as later or more modern airs have. They must, therefore,
have been composed for a very simple instrument, — such as the shepherd's
reed or pipe, of few notes, and of the plain diatonic scale, without using the
semi-tones, or sharps and flats." We are unable to understand this reason-
ing, for we have never seen nor heard of any instrument being in use in
Scotland with a diatonic scale of few notes. The bagpipe, which we
consider the most limited in scale or compass, has no fewer than nine
notes. Those that have come down to us as the shepherd's pipe, Scots whistle,
or flute-a-bec (formerly or anciently called the common flute), possess a
more extended scale : those denominated shepherd's reed, pipgorn, and
stock and horn, are similar to the chanter of the bagpipe, and have the
same compass. Though a number of our melodies are pentatonic, — viz.,
having only five notes in their construction, — this fact does not prove them
to be older than others in which the complete scale is used. Surely our
ancestors were as competent to sing a perfect scale as their descendants ?
To suppose a song written, or an air composed, commemorative of an
historical event, immediately after the event, and to fix the date accordingly,
is absurd. Can any one prove that the air of " Scots wha hae " existed
at the time of the Battle of Bannockburn, or even in the reign of Bobert
the Bruce ? or again, that either the song or melody of " Charlie is my
Darling " was known at the time of the " Forty-five " ? Tradition is quite
unreliable when unconfirmed by early writers or historians. Ritson
remarks that " Scottish traditions are to be received with great caution " ;
and to this remark we would add that the traditions of every nationality
are equally open to suspicion. We entirely agree with Tytler, when,
alluding to a supposition that our melodies were indebted to the
church music before the Reformation, he says, — " If the other tunes
preserved of the old church music were in the same style of ' John, come
kiss me now,' our fine old melodies, I think, could borrow nothing from
ANNOTATOES ON SCOTTISH MELODIES. 5
them." We hold also to the belief that our old melodies owe nothing to
the educated musician versed in theory and the rules pertaining to his
craft, nor even to those in high station, but rather to persons possessing
natural gifts, who expressed their feelings in joy or sorrow, — song or dance,
— according to the circumstances in which they were placed.
It would be difficult to prove that any of our Scottish monarchs, from
James I. onwards, composed a single melody that has descended to our
times, or to attribute to a composer any of our melodies that existed prior
to 1740. Whatever may be the value of Tytler's dissertation, he has
given excellent advice as to the singing or performing of Scottish songs
and tunes.
The next author we would notice after Tytler is Joseph Eitson, who, in
his " Scotish Songs," published in 1794, takes up this subject from an
antiquarian point of view.
While acknowledging that we Scots have many ancient tunes, he rejects
those handed down entirely by tradition, and demands more direct proof of
their antiquity. His doubts begin with the tune called " Hey tutti taiti,"
said by tradition to have been King Eobert Bruce's march at the Battle of
Bannockburn in 1314. " It does not, however, seem at all probable that
the Scots had any martial music in the time of this monarch, it being their
custom, at that period, for every man in the host to bear a little horn, with
the blowing of which, as we are told by Froissart, they would make such a
horrible noise as if all the devils of hell had been among them. It is not,
therefore, likely that these unpolished warriors would be curious ' to move
in perfect phalanx to the Dorian mood of flutes and soft recorders.' These
horns, indeed, are the only music (instrument he means) ever mentioned
by Barbour, to whom a particular march would have been too important a
circumstance to be passed over in silence ; so that it must remain a moot
point whether Bruce's army were cheered by the sound of even a solitary
bagpipe."
We certainly agree with fiitson's reasoning, that there is nothing but
tradition to suggest the age of the tune above referred to. We may, how-
ever, infer from the fact of the discovery in the High Treasurer's accounts,
of sums paid to pipers in the reign of David II., Bruce's son, about thirty
years after Bannockburn, that the bagpipe was not unknown in his father's
day. The tune could not have been played on their little horns ; it is
commonly played on the bagpipe at the present time.
The evidence desired by Eitson was to ascertain how far back the
tune could be actually traced. With other melodies he pursues the same
course, demanding direct proof as to their age.
It is not to be supposed that we shall be able to trace every melody
back to its composer, or to affirm that the tune which is now current is the
same as that which was at first attached to the song or dance bearing
its name, unless it has come down to us from the time the words were
written or the dance was fashionable, preserving traits of its early form.
6 EARLtf SCOTTISH MELODIES.
Our own desire is, like Eitson, to obtain manuscript or printed evidence
of the melodies, and not merely to find mention of them, unless there
is proof that they have descended to us from an early time in something
like their original form. As an example, the tune called the " Battle of
Harlaw," said to be commemorative of the battle fought in 1411, is first
mentioned by Drummond of Hawthornden, in his " Polemo-middinia," written
about 1650, but we have no tune of that name printed before D. Dow's
collection of Ancient Scots Music circa 1775, and though Stenhouse states
in his Illustrations that the air he gives as the "Battle of Harlaw " is from
"a folio manuscript of Scots tunes of considerable antiquity," the two
versions differ considerably. Which, therefore, can we affirm to be the
original? Eitson says that "the tune 'Flowden Hill' or 'The Flowers
of the Forest,' is one of the most beautiful Scotish melodies now extant,
and, if of the age supposed, must be considered as the most ancient."
Eegarding the words of this song he says, " its antiquity, however, has been
called in question ; and the fact is, that no copy, printed or manuscript,
so old as the beginning of the present (eighteenth) century, can be now
produced." He follows the " Flowers of the Forest " with " The Souters of
Selkirk," and says, " if it were actually composed upon the same occasion,
it must be left to dispute the precedency." Next in antiquity, he gives
" The Gaberlunzie Man," " The Beggars Meal-pokes " and " Where Helen
Lies;" and after these the old ballad of "Johnie Armstrong," those
mentioned in Wedderburn's " Complainte of Scotlande," and " The Com-
pendium of Godly Sangs." After the last work, he notices Tytler's
assertion that "our fine old melodies could borrow nothing from them,"
and says, "This, however is not so clear, as 'John come kiss me now'
is certainly a very fine tune." * He continues with " Eobs Jock," " The
bonny Earl of Murray," " Tak up your auld cloak about ye," and " Waly
waly up the bank," as airs of the sixteenth century, and concludes with
" General Leslies March " (1644) as one of which he is able to fix the date,
and " The Aberdeen Collection," printed in 1666. We cannot agree with
Eitson's statement that " No direct evidence, it is believed, can be pro-
duced of the existence of any Scottish tune, now known, prior to the year
1660, exclusive of such as are already mentioned ; nor is any one, even of
those to be found noted, either in print or manuscript, before that period."
At the time of this assertion the existence of the Straloch, Mure, and Skene
manuscripts was unknown, and in these were contained many Scottish tunes
other than those enumerated by him.
We would now refer briefly to William Stenhouse, who undertook
an engagement to supply explanatory notes relative to the songs and
tunes included in the " Scots Musical Museum," for William Blackwood,
bookseller, who, after the death of the original publisher, James Johnson,
engraver (to whom Burns gave many of his songs, and solicited con-
tributions from brother poets), became the purchaser of that work. The
* Our opinion is, that Ritson had not seen an early copy of this tune.
ANNOTATOKS ON SCOTTISH MELODIES. 7
preparation of Stenhouse's work, — which was entitled " Illustrations of the
Lyric Poetry and Music of Scotland," — was, we are told, " finished, and the
printing was commenced, towards the close of 1820, and in the course of a
few months was completed, extending in all to 512 pages. Some delay
unfortunately occurred in regard to a general preface for the work, which
eventually occasioned the publication to be laid aside." Printed in sheets, it
remained neglected for about twenty years (during which time both the
editor and proprietor died), till in 1839 it was presented to the public.
The publication was then received as an authority, and is referred to and
regarded as such even at the present time by many scribblers who are
content to copy it at random and without the least reservation. Whether
Stenhouse was prejudiced in any of his remarks, or was misinformed, it is
impossible to say, though probably both may be alleged. All this
notwithstanding, his work was an onerous one, and may, we think, be
regarded as of considerable importance. It contains many errors and
worthless assertions, but, nevertheless, we are indebted to his exertions, for
the fact remains that his frequent shortcomings and mistakes have
furnished an incentive to further enquiry and research.
In 1848, the editor of the "Songs of Scotland," George Farquhar Graham,
in his notes to that work, revealed a number of errors on the part of Sten-
house, but at the same time himself fell into other misstatements. We
may give an example of this from his note to the song, " Oh ! Why left I
my hame ? " (Vol. I., page 13), where he states, — " Mr Stenhouse erred in
saying that the tune No. 115 in Johnson's Museum was published by
James Oswald in 1742; for, on looking into Oswald's Second Collection, we
find, page 25, 'The Lowlands of Hpland,' a tune totally unlike the one
under the same name in Johnson. The original of that tune, published by
Oswald, is to be found in No. 17 of the Skene MS. ; a fact which at once
demolishes Oswald's claim to the tune, and brings additional proof of his
utter untrustworthiness." Now Graham, while he corrects Stenhouse, errs
himself, because Oswald never claimed " The Lowlands of Holand " in any
of his works, and therefore cannot with any truth or reason be charged
with its appropriation. (See our biographical notice of Oswald.) Graham
has done excellent work on the whole, despite the errors into which
he has fallen, and we do not intend citing further instances of inaccuracy
here, our object being to allude to them in our notes under the respective
songs or airs. It would be unfair, however, if we omitted to inform
our readers that G. P. Graham, whom we knew well, was a gentleman
thoroughly competent for the work he took in hand, and when he expressed
himself on the internal or structural evidence of an air, either as to its
antiquity or nationality, his opinion was of very great value.
John Muir Wood, the proprietor of " The Songs of Scotland," in order
to meet the demand for a cheaper issue, revised G. F. Graham's notes,
which he published in 1884 with the following new title, " The Popular
Songs and Melodies of Scotland, Balmoral Edition." We do not
8 EAELY SCOTTISH MELODIES.
agree with certain of the changes he has made in the notes, nor with
some of his new notes. Our opinion is that, being at this time in his
79th year, he had not undertaken personal research, but had relied on
others for information, and had, besides, placed considerable confidence in
Chappell's "Popular Music of the Olden Time," which he occasionally
quotes. In a preliminary note, Wood, unfortunately, belies the title of
his book, by stating, "We still assert our right to include these (English)
airs in our Scottish collections"; and he further says, "In the present work
no attempt has been made to eliminate the English airs ; they have been
retained in some cases for the purpose of pointing out that, notwithstand-
ing the Scottish words, they are really English ; in others, — as in ' The
Banks of Doon,' — because the poetry has saved the English air from
oblivion, which its own words never could have done." The assertion that
" The Banks of Doon " is an English tune is the result of his faith in
Chappell's work. We have alluded to this English claim in our " Scottish
Dance Music," but we shall shew also in this volume its want of founda-
tion. This is not the only instance in which Wood has erred. His efforts
have, on the whole, added little to Graham's work ; he has omitted some
notes, and others would have been better without alteration. A number
of the tunes in the original have been left out, and different airs inserted
in the Balmoral edition. With these reservations, the work on the whole
is a good one.
CHAPTER III.
MANUSCEIPTS AND EAELY PEINTED WOKKS.
The Bowallan MS. — This Manuscript is a tablature Lute book, and is pro-
bably the oldest Scottish musical manuscript now in existence. It belongs
to the Edinburgh University, and is deposited in the College Library. This
small manuscript book was written by Sir "William Mure of Eowallan
about or between the years 1612 and 1628. The bulk of its contents are
foreign airs, though a few Scottish melodies are included in its fifty pages.
At one time the volume was in the possession of Mr Lyle, a surgeon in
Airth. Sir William Mure died in 1657, aged 63 years. A fuller descrip-
tion of the MS. is given by William Dauney in his "Ancient Scotish
Melodies," 1838.
The Straloch MS. — We cannot do better than describe it from the
account given in the " Gentleman's Magazine," February 1823, which is as
follows : — " Old Scotch Musick. The late Dr. Burney possessed a valuable
volume in Manuscript of Scottish Musick. It had been presented to him
from Dr. Skene, professor of Humanity and Philosophy in Marischal
College, Aberdeen, June 1781 : and it was supposed the Collector was the
first person who received the degree of Master of Arts in Marischal College.
The title of the work is, An Playing Booke for the Lvte. Wherin ar
contained many cvrrents and othir mvsical things. Musica mentis
medicina msestae, At Aberdein. Notted and collected by Eobert Gordon-
In the yeere of our Lord 1627, In Februarie. The back of the title has a
drawing of a person playing on the lute, and named on a ribband Musica.
With several tunes that have no better distinguishment than' A Ballat,'
or ' A Current/ are others with the following titles, of which only a few
are now known (here is given a list of eighty tunes, ending thus), Einis
huic libro impositus. Anno D. 1629. Ad finem Decern 6. In Stra
Loth. In the list of tunes Haddington's mask appears twice, and four
tunes are marked with an asterisk that are mentioned by Eitson in his
Historical Essay on Scottish Song" (p. lvi.), etc. The original Manu-
script contains some of our oldest Scottish melodies. In form it is a small
10 EARLY SCOTTISH MELODIES.
oblong 8vo. It passed into the possession of George Chalmers, Esq.,
London, and after the death of his sod, was sold along with the books and
manuscripts that formed his library, as advertised in The Athenceum. The
following are the announcements, the library being sold in two portions : —
"September 25th, 1841. Messrs Evans will sell at 93 Pall Mall on
Monday next, September 27th, and eight following days, the very curious
and valuable Library of the late George Chalmers, Esq., Author of the
'Life of Mary Queen of Scots,' 'Caledonia Antiqua,' etc."; and again,
"March 5th, 1842. Sales by Auction— Library of the late George
Chalmers, Esq. Messrs Evans will sell on Monday next, March 7th, at
No. 93 Pall Mall, the Second Part of the extensive and curious Library of
the late George Chalmers, Esq., F.R.S., F.S.A., etc." The Lute Book was
sent to Edinburgh by Mr James Chalmers for the late Dr D. Laing's in-
spection in January 1839, and George Farquhar Graham obtained permission
to copy it, and to translate and publish it. We now quote from a copy of
the Extracts taken from the original volume and presented to the Faculty
of Advocates in 1847, on which G. F. Graham has written, " I translated
the whole of it, and also transcribed exactly from the original such of the
pieces of music as I thought most important, omitting a number of Dance
Tunes, as will be seen from the list of contents which I give below. My
translation I lent to a musical friend some years ago, and he has lost it.
The original was returned by Mr Laing to Mr. Chalmers, and after
Mr Chalmers's death was sold along with the rest of his library. I lately
wrote to my friend Mr William Chappell, 201 Eegent Street, London,
asking him if he knew what had become of the Straloch MS. His answer
is as follows : ' 9th Sept. 1845. I cannot tell where Sir Eobert Gordon's
Lute Book went. I fully intended to buy it, but was deterred from going
by the extravagant prices the books were being sold for. Unluckily it
went for a mere trifle, and was bought in a name quite unknown to
collectors.'" The answer received by G. F. Graham shows, evidently,
that the name of the buyer was known, but perhaps it suited the interest
of some one to keep it concealed. Should the manuscript Lute Book still
exist, it would be a matter of considerable difficulty to discover it after
a lapse of nearly sixty years. From another copy of the extracts, also
written by G. F. Graham, now in the possession of Mr. T. W. Taphouse,
Oxford, we get the information that the musical friend who lost the com-
plete translation was Mr Finlay Dun. In Chalmers's sale catalogue, March
1842, the manuscript was lot No. 1642, and the following note was appended
to it : " This extremely curious manuscript was presented to Dr Burney in
1781 by Dr Skene, Professor of Humanity at Aberdeen. The Collector and
Writer of this MS., and Notes of the Music, was R. Gordon of Straloch.
He was the first person who received the degree of Master of Arts at the
College of Aberdeen. It contains many curious old airs, as the Air ' Gray
Steel,' ' Green greus ye Rashes,' and many others. A particular account of
this MS. will be found in Dauney's ' Ancient Scottish Melodies,' p. 84, 147,
Manuscripts and early printed works. ii
and more in detail at p. 368 and 369, where a list of the greater part of
the contents is given. See also Johnson's ' Scots Musical Museum/ p. 21
of Preface, and p. 138-9." George Chalmers died 31st May 1825. His
library was retained by his son, and sold, at his death, in 1841-42.
The Skene MS. — This Manuscript, which has found a restiDg-place in
the Library of the Faculty of Advocates, Edinburgh, consisted originally of
seven separate portions. It was bequeathed to that body about the year
1818 by Miss Elizabeth Skene, the last survivor in a direct line of the
family of Skene of Curriehill and Hallyards, Midlothian. The Curators of
the Library had the seven parts bound together in one volume. A list is
given of the airs it contains in Dauney's " Ancient Scotish Melodies," "
1838, which treats mainly of the Skene manuscript. This MS. collection,
which is a tablature for the Mandora (a species of Lute), is undated, — it
was either written for John Skene of Hallyards or by him, and was
generally considered to have been made about 1615 ; but the late Dr
David Laing was of opinion that its age was ten or fifteen years later. For
further information see Dauney's work and Stenhouse's "Illustrations
of the Lyric Poetry and Music of Scotland," with additional notes.
Edinburgh, 1853."
The Guthrie MS. — This Manuscript, which belongs to the University
Library, Edinburgh, was bequeathed to the College by the late David
Laing, LL.D., the Scottish Antiquary, who considered it to have been
written not later than 1675-80. It was found by Laing bound up in a
volume of Sermon Notes preached by James Guthrie, the Covenanting
minister, who was executed in 1661. "We have come to the conclusion that
it contains not one of the forty tunes supposed to be included in it. Our
belief is that the Guthrie MS. tablature consists entirely of accompani-
ments for the tunes named, written for some instrument which is not
indicated. We have copied nine of the supposed airs, some of which are
well known by name ; and though we have made many efforts to translate
them from the tablature, we have been unable to produce a single melody.
The manuscript was described by Dauney in his " Ancient Scotish Melodies,"
1838, and we suspect attempts have been made subsequent to that date
to unravel its contents, probably by G. F. Graham and others, which, how-
ever, have proved fruitless, further than showing that the melodies did
then exist. In conclusion, we may say there is no work that presents an
example of a tune in modern notation taken from the Guthrie manuscript.
The Blaikie MSS. — These Manuscripts belonged to an engraver in
Paisley named Andrew Blaikie, who died upwards of fifty years ago.
They were two in number, and were apparently written by the same
person, one of them dated 1683 and the other 1692. Both volumes
were written in tablature ; the earlier one was lost by Blaikie, but we are
12 EARLY SCOTTISH MELODIES.
told that its contents, with few exceptions, were the same as that of 1692.
The latter was written for the Viol da Gamba. From a transcript
made by the late James Davie, of Aberdeen, we learn that there were
at least 112 tunes in the manuscript of 1683, and that he made a copy of
forty airs from it, which A. J. Wighton, of Dundee, also transcribed, and
which are in the collection he bequeathed to the Dundee Public Library.
We have not been able to discover what has become of either of the
original manuscripts, if indeed they still exist. In "Ancient Scotish
Melodies," 1838, pp. 144-5, Dauney gives the names of fifty-three tunes
from one of them.
The Leyden MS. — So far as known to us this Tablature Manuscript
belonged originally to the celebrated Dr John Leyden. It afterwards
passed into the possession of James Teller, schoolmaster, Saughtrees,
Roxburghshire, but at what date we have been unable to ascertain. The
manuscript is written for the Lyra Viol, and contains upwards of eighty
tunes in tablature, along with a few others in the present staff notation.
In 1844 it was sent to George Farquhar Graham, who had permission to
copy from it, which he did to the extent of all the tunes written in
tablature. His manuscript is now in the library of the Faculty of
Advocates, Edinburgh. The original manuscript bears no date ; it cannot,
however, be earlier than 1692, for among the Scottish tunes it contains
are two airs relating to events which occurred about that time, viz.,
"King James March to Irland," and "The Watter of Boyne," but the
latter is not the tune now known by the name of " Boyne Water." About
three years ago we communicated with Miss Telfer, the daughter of the
schoolmaster, to ascertain what had become of the manuscript, but that
lady could give no information whatever as to where it had gone or its
present owner. James Telfer died 18th January 1862, aged sixty-one years.
The following manuscripts in the present notation may also be noticed: —
The Crockat Manuscript. — Mr Stenhouse, who was in possession of
this Manuscript, frequently referred to it in bis Illustrations to Johnson's
" Scots Musical Museum." It is said to have belonged to a Mrs Crockat,
and dated 1709, but we have not been able to obtain any information what-
ever regarding that lady. After Mr Stenhouse's death the Manuscript became
the property of the late Charles Kirkpatrick Sharpe, Esq., of Hoddom.
Margaret Sinkler's MS. — This music book, now in our possession, has
inscribed in it, " Margaret Sinkler Aught this Music Book written By
Andrew Adam at Glasgow October the 31 day 1710." It also bears the
name of " George Eancaid at Glasgow the 24th May 1717," and that of
" G Kincaid Pitcairn 50 Castle Street -1829." The manuscript contains
upwards of one hundred tunes, one half of the number being for the
harpsichord or spinnet.
MANUSCRIPTS AND EARLY PRINTED WORKS. 13
Other Manuscripts of lesser importance are, with the exception of
the M'Farlan, mentioned by Dauney in his " Ancient Scotish Melodies,"
1838, pp. 146-7. Two of these belonged to the late David Laing, LL.D.,
the earlier supposed to have been written at the beginning of the eighteenth
century, the other dated 1706. A third is in the Advocates' Library,
bearing the inscription of Agnes Hume 1704, and another, of supposed
date 1715, is in the possession of Mr George Waterston, stationer,
Edinburgh.
The M'Farlan MSS. — These Manuscripts consisted of three volumes,
bearing on their title pages, " A Collection of Scotch Airs "With the Latest
Variations written for the use of Walter M'Farlan of that Ilk (a
subscriber to James Oswald's ' Curious Scots Tunes '), By David Young
W.M. in Edinr. 1740." The second and third volumes of this collec-
tion were presented to the Society of Antiquaries, Scotland, by the
Hon. Henry Erskine, July 23rd 1782, and the first volume was also
presented to that body by Miss M'Farlan of M'Farlan, on the 12th of
June 1784. The first volume contained tunes to the number of 243 ; the
second, 150 ; and the third, 292 ; in all, 685 airs. A part of the title
page of the third volume is torn away, but it may not have been
dated later than 1742. Many years ago the first volume was borrowed
and never returned. A considerable number of the melodies in the two
remaining volumes are not Scottish.
Among early printed collections containing Scottish Melodies are
" The Dancing Master," and other works of John Playford, see page 15 ;
"Original Scotch Tunes," 1700, Henry Playford; "The Orpheus Caledonius,"
1725 and 1733, William Thomson; " The Musick for the Songs in the Tea
Table Miscellany," circa 1725-6 ; "A Collection of the Choicest Scots Tunes,"
1730, Adam Craig ; "A Curious Collection of Scots Tunes," 1740 ; "A Collec-
tion of Curious Scots Tunes," 1742 ; " The Caledonian Pocket Companion,"
and other publications of James Oswald ; "A Collection of Scots Tunes,"
1742, 1746, 1755, by William M'Gibbon ; "A Collection of Old Scots Tunes,"
1742, by Francis Barsanti ; and various publications of Robert Bremner and
Neil Stewart, besides several ballad operas, and the yearly Dance Books
of Walsh, Wright, Johnson, Thompson, Rutherford, and other London
publishers.
" Queen Elizabeth's Virginal Book," see Appendix.
CHAPTER IV.
WILLIAM CHAPPELL
"William Chappell's " Popular Music of the Olden Time " (an excellent
work, in which he shows that the English have an abundance of national
melodies) was written to refute the common assertion that England
possessed no national music whatever. In this work, however, he has
made a number of allusions to Scottish music and composers which
cannot be allowed to pass unquestioned. At page 57 he says, "The
writer of a quarto volume on Ancient Scotish Melodies (Dauney)
has asserted that all the Ancient English Music in Eitson's or other
collections is of a heavy drawling character. An assertion so at
variance with fact must either have proceeded from narrow-minded
prejudice, or from his not having understood ancient musical notation.
That he could not discriminate between Scotch and English music, is
evinced by the fact of his having appropriated some of the best known
English compositions as ancient Scotish melodies. The following song
(' "Western "Wind ') is one of those adduced by him in proof of the drawling
of English music, but I have restored the words to their proper places, and
it is by no means a drawling song. It should be borne in mind that these
specimens of English music are long anterior to any Scotish music that has
been produced." That William Dauney expressed himself in any such terms
is quite beyond the truth. The passage on which Chappell comments seems
to be the following : " Alluding to the songs and ballads, with easy tunes
adapted to them, Hawkins says, hardly any of these, with the music of them,
are at this day to be met with, and those few that are yet extant are only
to be found in odd-part books, &c. Eitson cannot conceive what common
popular tunes had to do in odd-part books; but if he had been at all
acquainted with music, of which he candidly confessed himself to be wholly
ignorant, he would have seen that Hawkins here meant it to be implied
that the common popular tunes of the English were all composed to be
WILLIAM CHAPPELL. 15
sung in parts ; and in his own ' Ancient Songs ' we see none which do not
answer that description, — with one exception, and that consists of a class
of songs without harmony, and, we may add, at the same time, without
grace, animation, accent, or rhythm — mere fragments, in short, of the
Catholic ritual." Dauney criticised the tune as he found it in Eitson (who
held it wrong to alter any word or note whatever), a sufficient answer to
Chappell, who admits that — to get rid of the objectionable qualities com-
plained of by Dauney — he found it necessary to re-arrange the words.
Before we turn our attention to the English claims, and to the Anglo-
Scottish Songs mentioned in the " Popular Music of the Olden Time," we
desire to make some observations on the publications of John Playford, fre-
quently quoted by W. Chappell. The first work coming under our notice is
" The English Dancing Master," bearing the date 1651 on its title page. It
contains 112 tunes. In the following year, 1652, the second edition appeared,
but" the title given was, "The Dancing Master" — containing the same
tunes, 112 in number; — described as follows, "With the tune to each dance
to be play'd on the treble violin ; the second edition enlarged and corrected
from many grosse errors which were in the former edition." Why did
" Honest John," as he is called by Chappell, change the title ? May we
not infer that his reason was to correct one of the " gross errors " ? that
of having included other than English tunes. By dropping the word
English he got greater scope for his publications, and was enabled to
make use of melodies belonging to other nationalities. There were
eighteen editions of "The Dancing Master" issued between 1651 and
1728, all bearing their respective dates, and all or nearly all differing
and extending their contents. Those after 1696 were published by his
son Henry Playford, and his successors. Other publications of Playford
occasionally referred to are, "Musick's Handmaide," "Musick's Becrea-
tion on the Lyra Viol," "Musick's Delight on the Cithren," and " Apollo's
Banquet."
Chappell, treating of Anglo- Scottish songs, says, "As the works of
Scotch poets are now sometimes included under the head of English
literature, where the preponderance is English, so Allan Eamsay entitled
his Tea-Table Miscellany, 'A Collection of Scots Sangs,' the preponder-
ance in the two first volumes (of which the work originally consisted)
being Scotch. Although it was soon extended to three volumes, and
the third was entirely English, still the exclusive title of Scots Sangs
was retained. In 1740 a fourth was added, partly consisting of Scotch
and partly of English. In this are twenty-one songs by Gay, from ' The
Beggars' Opera,' ranged consecutively." We are not aware that Bamsay
represented all his four volumes as consisting entirely of Scottish Songs,
though the bulk in the first and second volumes are Scots. In an edition
of the first three volumes dated 1734, we find the two first only termed
Scots Sangs, while the third volume is entitled, " A Collection of Celebrated
Songs." There are ten Scots songs at the end of this volume, which were
16 EARLY SCOTTISH MELODIES.
afterwards transferred to the end of the first volume, published in the
Collected edition of 1740, under the title of " The Tea-Table Miscellany ;
or, A Collection of Choice Songs, Scots and English," in four volumes.
Chappell's reference to the works of Scotch poets as included in English
literature, is a sufficient answer to his remarks on " The Tea-Table
Miscellany." It appears to us that he paid little attention either to the
title of Ramsay's work or to its contents.
His next complaint is that Ramsay, in mixing up English with Scottish
songs, omits to give the names of the tunes by which they were pre-
viously known. He also names half a dozen tunes which he main-
tains are English compositions. These we shall refer to later on under
their respective titles. Chappell proceeds to say, "If a scrutiny were
carried through the songs in the 'Tea- Table Miscellany,' in Thomson's
' Orpheus Caledonius,' or any other collection, the bulk of Scottish music
would be sensibly diminished ; but on the whole it would gain in symmetry.
Many good and popular tunes would be given up, but a mass of indifferent
would be rejected at the same time." This sort of reasoning goes on the
assumption that English tunes in Ramsay and others were claimed as
Scottish, but surely English words do not prove tunes to be English. If
so much were to be gained by the scrutiny, why did Chappell not under-
take it, instead of accusing the Scots of condoning these alleged
plagiarisms ?
After insinuating an increase of poaching on English preserves since the
time of Thomson (1725), he makes an attack on Johnson's " Scots Musical
Museum," by quoting letters written by Burns to two of his correspondents.
" The first, to Mr Candlish, is dated June 1787 : ' I am engaged in assisting
an honest Scotch enthusiast, a friend of mine, who is an engraver, and has
taken it into his head to publish a collection of all our songs set to music,
of which the words and music are done by Scotchmen.' And again in
October, to another correspondent (Rev. John Skinner), 'An engraver,
James Johnson, in Edinburgh, has, not from mercenary views, but from an
honest Scotch enthusiasm, set about collecting all our native songs,' &c. —
And yet within the first twenty-four songs of the only volume then
published, are compositions by Purcell, Michael Arne, Hook, Berg and
Battishill."
Burns arrived in Edinburgh at the end of November 1786, and took up
his lodging in Baxter's Close, Lawnmarket. Johnson at that date did
not live there, and it may be taken for granted that the poet was not
acquainted with the engraver before the first announcement of the latter's
projected work in February 1787. It is as follows : " James Johnson
proposes publishing by subscription under the inspection of the ablest
masters, a New and Complete Collection of Scots English and Irish Songs
for the Voice harpsichord and piano-forte, in two neat 8vo. Vols., each
Volume containing 100 Songs with thorough basses to each song
Subscriptions," &c. The first volume of the "Scots Musical Museum"
WILLIAM CHAPPELL 17
was announced in an advertisement of " May 19. This day was published
(Dedicated to the Catch Club, instituted at Edinburgh, in June 1771) by
James Johnson, Vol I. of the Scots Musical Museum," &c. The admission
of English music in this volume has been further explained in the preface
under the heading of " To the true lovers of Caledonian Music and Song.
Signed James Johnson, Edin. Bell's Wynd, May 22, 1787." The work of
this first volume was probably far advanced, and Johnson was naturally
unwilling to cast it aside. The title "Scots Musical Museum" was,
we think, afterwards suggested by Eobert Burns, who is credited with
only one song (Green Grows the .Bashes) in the first volume. Chappell
proceeds to say, " Although the popularity of Scottish Music in England
cannot be dated further back than the reign of Charles II, it may be
proved from various sources, that English music was in favour in Scotland
from the fifteenth century, and that many English airs became so popular
as at length to be thoroughly domiciled there." In support of this
assertion he says, " The Extracts from the Accounts of the Lords High
Treasurers of Scotland, from the year 1474 to 1642, printed by Mr Dauney,
show that there were English harpers, lutenists, pipers, and pipers with
the drone, or bagpipers, among the musicians at the Scottish Court, besides
others under the general name of ' English Minstrels.' " The Extracts which
contain reference to English musicians are the following : — " 1489, A pay-
ment to Inglis pyparis that cam to the castel yet and playit to the King
viij li. viij s. 1491 Item to iiij Inglis pyparis viij unicorns vij li. iiij s.
1503 Aug. 13 — Item, to viij Inglis menstrales be the kingis command
xl french crownis xxviij L Item, to the trumpetis of England, xxviij 1.
Item, to the Quenis four menstralis that remanit with hir, vij 1. Item,
to the Erie of Oxfordis twa menstrales v 1. xij s. Item to the five lowd
menstrales xxviij 1. Aug. 21 — Item, that nycht to the cartis to the king,
and syne g iffin to the Inglis harparis iij li. x s. Item, to Eobert Budman,
Cuddy the Inglis boy, Soutar lutar, Adam Dikesoun, and Craik. lutaris,
ilk ane, xiiij s. iij li. x s. 1504. Aug. 21. — Item, to twa Inglise wemen
that sang in the Kingis pailzesune, xxiii s. 1505. — Item, the xiiij day of
Aprile to the twa piparis of Edinburgh, the franch quhissalar, the Inglis
pipar with the drone, ilk man, ix s. xxxvj s."
Extract from the Household book of Lady Marie Stewart, Countess
of Mar, Edinburgh (no date) : " 1642. June 20.— Item, that day given
to three English pifi'ereris, xviij. s."
Though Dauney gives many other extracts, these are the only ones
relating to English musicians. At a glance it will be seen there are nearly
one hundred and forty years between the two last entries. Chappell's
reference to the "Extracts" fails entirely to prove that any of those
English musicians belonged to the Scottish Court. The pipers mentioned
in the first two items were apparently strollers, while those musicians
in the years 1503-4-5, seem to have been some of the retinue that came
along with the Princess Margaret, daughter of Henry VII., whom James
18 EAELY SCOTTISH MELODIES.
IV. married. The three pipers at the later date in 1642 appear to have
received some recompence from the Countess of Mar. We may conceive it
probable that these musicians would carry away more music than they
brought and left to be domiciled.
Chappell then refers to Scottish manuscripts, and says, " English tunes
have hitherto been found in every Scottish manuscript that contains any
Scotch airs if written before 1730. There is, I believe, no exception to
this rule — at least I may cite all those I have seen, and the well-
authenticated transcripts of others. They include Wood's manuscripts;
the Straloch, the Eowallan, and the Skene MSS.; Dr Leyden's Lyra-
viol book; the MSS. that were in the possession of the late Andrew
Blaikie ; Mrs Agnes Hume's book, and others in the Advocates' Library ;
those in the possession of Mr David Laing, and many of minor note.
Some of the Scotch manuscripts contain English music exclusively."
This is a rather formidable list. But it nevertheless seems to us that
Chappell's treatment of the whole subject is perfunctory and inconclusive.
Not that we dispute his statement — undoubtedly the writers inserted in
their manuscripts whatever tunes pleased their fancy ; but we may ask if
all English manuscripts, whether written before 1730, or after that date,
were exclusively confined to English melodies ? Chappell, continuing his
remarks on Scottish manuscripts, says, " Before the publication of Eamsay's
Tea- Table Miscellany, the ' Scotch tunes ' that were popular in England were
mostly spurious, and the words adapted to them seem to have been
invariably so." Of this he thinks it may suffice to give an instance from
A second Tale of a Tub, which, being printed in 1715, is within nine
years of Eamsay's publication. "Each party call (fell to bawling and
calling) for particular tunes . . . the blue bonnets {i.e. the Scotch) had
very good voices, but being at the furthest end of the room, were not
distinctly heard. Yet they split their throats (wems) in hollowing out
Bonny Dundee, Valiant Jockey, Sawney was a dawdy lad [bonny lad ?],
and 'Twas within a furlong of Edinborough town." These are given as
samples of spurious Scotch songs — certainly the words are of Grub Street
manufacture, but it does not follow that in every instance the tunes were.
The author's intention was to make a grotesque comparison between the
two nationalities, and for that purpose any tunes sufficed. Inquiry into
their authenticity was quite beyond the scope of the pamphlet. Next, we are
told that " the subject of the ballad (Bonny Dundee) is ' Jockey's Escape
from Dundee,' and it ends, Adieu to Bonny Dundee, from which the tune
takes the title of Adew Dundie in the Skene manuscript, and of Bonny
Dundee in The Dancing Master." It first appeared in the latter publication
in a second appendix to the edition of 1686, which was printed in 1688.
In this way Chappell endeavours to drag down the age of the Skene MS.
Chappell continues, "Songs in imitation of the Scottish dialect seem to
have been confined to the stage till about the years 1679 and 1680." Are
we to understand from this that Scottish melodies were not popular till the
WILLIAM CHAPPELL. 19
productions of Tom D'Urfey appeared ? The contention is utterly fallacious.
The use of imitations on the stage proves that they were in demand, and
that circumstance points to the favourable reception of genuine Scots songs
and tunes, hence the introduction of the spurious. Along with this informa-
tion about the imitations, we have, " Perhaps the earliest extant specimen
of a ballad printed in Scotland may also be referred to this period; — I
mean by ' ballad ' that which was intended to be sung, and not poetry
printed on broadsides, without the name of the tune, even though such
may sometimes have been called 'ballets' . . . but as a real ballad,
intended to be sung about the country, as English ballads were, I know
none earlier than 'The Banishment of Poverty, by his E, H. J. D. A.
[James, Duke of Albany], to the tune of the Last Good Night.'" This tune
also is claimed by Chappell to be English.
Then we are regaled with a list of spurious broadsides that were
printed in Scotland, with the names of the airs to which they were
sung, and further on, the following is introduced: "The mixture of
English music in Scotch Collections is not without inconvenience to
the Scotch themselves. Dr Beattie, in one of his published letters,
says of the celebrated Mrs Siddons, She loves music, and is fond of
Scotch tunes, many of which I played to her on the violoncello. One
of these, She rose and let me in, which you know is a favourite of mine,
made the tears start from her eyes. ' Go on,' said she, ' and you will soon
have your revenge ; ' meaning that I should draw as many tears from her
as she had drawn from me by her acting [Life of James Beattie, LL.D., by
Sir W. Porbes, ii. 139]. Dr Beattie was evidently not aware that both
the music and words of She rose and let me in are English. There is
also another illustration from Dr Beattie's Essays : ' I do not find that any
foreigner has ever caught the true spirit of Scottish music;' and he
illustrates his remark by the story of Geminiani's having blotted quires of
paper in the attempt to write a second part to the tune of The Broom of
Cowdenknows. This air is, to say the least, of very questionable origin."
Our remarks in reply to this contention are given under the notice of the
tune, page 35.
Chappell next assails Dauney in this curious fashion : — " It is not only
by essayists that mistakes are made, for even in historical works like
' Ancient Scottish Melodies from a Manuscript of the reign of James VI.,
by "William Dauney, F.S.A., Scot.,' Airs which bear no kind of resemblance
to Scottish music are claimed as Scotch. Mr Dauney seems to have been
a firm believer in the authenticity of the collections of Scottish music, and
to have thought the evidence of an air being found in a Scotch manuscript
sufficient to prove its Scottish origin. In such cases dates were to him of
minor importance." It is impossible to understand what Chappell means by
such general remarks. Has he disproved what Dauney said? Dauney's
works shew plainly that he did not believe that everything contained in
Scottish MSS. belonged to Scotland. Had Chappell read carefully Dauney's
20 EAELY SCOTTISH MELODIES
Ancient Scottish Melodies, page 4, he would have found that his comments
were absolutely baseless. Dauney says, " Well may the Editor in his turn
exclaim, How would Mr Eitson and his collaborateurs have rejoiced in the
recovery of so rich and varied a collection of ancient Scotish and English
melodies as that which is now submitted to the public ! " Chappell goes
on : " Franklin is fled away ; "When the King enjoys his own again ; I pray
you, love, turn to me; Macbeth; The Nightingale; The Milking-pail ;
Philporter's Lament, and many others, are set down as airs of which Scot-
land may claim the parentage ; " one would suppose that these tunes were
all found in the Skene Manuscripts, whereas " The Nightingale " is the only
one, and there is not the slightest attempt to claim it as a Scottish tune.
The others are from the Blaikie MS. He then proceeds : " As to the Anglo-
Scottish and English Northern songs, at the very opening of his book Mr
Dauney claims five in Pills to Purge Melancholy, without noticing Eitson's
counter-statement as to two (yet appropriating them under those names),
or that a third was stated to be a country-dance in the book he quotes.
This is indeed driving over obstacles." It is evident rather that Chappell is
driving over obstacles ; why is he not more explicit ? Had he mentioned
the five tunes by name, it would have removed any doubt as to those he has
in view ; though we presume he refers to " Dainty Davie," " Corn Kigs,"
" My Mother's aye glowrin o'er me," " Over the hills and far away," and
" Bonny Dundee." All that needs be said is, that Eitson's reference is to
the songs, Dauney's to the melodies ; the songs in the Pills are no doubt
English, the airs, in our opinion, are Scottish.
We return to the Skene Manuscripts. Chappell says, "Mr Dauney
admits that a portion of the airs are English, but follows the Eamsay
precedent in the title of his book;" but Chappell himself allows that where
the preponderance is Scottish or English in any work it must in such a case
rule the title of the volume. Chappell goes on to question the age of the
documents. He says, " I have recently examined these manuscripts with
some care, and am decidedly of opinion, both from the writing and from
the airs they contain, that they are not, and cannot be of the reign of
James VI. James VI. of Scotland and I. of England died in 1625." We
again refer to Dauney, who does not maintain that all the MSS. are of
James's reign ; he states, page 11, " There is just one portion of the MS.
which appears to be rather newer than the rest, this is Part IV. There is
here a tune called ' Sir John Hope's Currant.' Hope ' was knighted and
appointed a Lord of Session in 1632.' It so happens, however, that
there has been an obliteration in this place. The name first given to this
tune in the MS. was ' Currant Eoyal.' This appears to have been deleted,
and ' Sir John Hope's Currant ' afterwards interpolated, though evidently
in the same hand." Chappell expresses himself in a footnote thus : — ■" My
attention has recently been drawn to these manuscripts, which I had not
seen for twenty years, from finding, in the course of my attempts at chrono-
logical arrangement, that their supposed date could not be reconciled with
WILLIAM CHAPPELL 21
other evidence. I have hitherto quoted the Skene MSS. as about 1630 or
1640, and many of the airs they contain are undoubtedly of that date,—
some, like those of Dowland and the masque tunes of James I., unquestion-
ably earlier. In Mr Dauney's book, the airs are not published in the
order in which they are found in the manuscripts, and some airs (besides
duplicates) are omitted. The printed index is not very correct, — for
instance, 'Let never crueltie dishonour beauty,' is not included in it.
The earliest writing appears to be ' Lady, will thou love me ? ' at the
commencement of Part II., but all the remainder of that part seems to be
a century later. Pages 62 to 80 are blank. At the end of the first
manuscript are the words ' Finis quod Skine,' which Mr Dauney considers
to be the writing of John Skene, who died in 1644. Independently of
other evidence, the large number of duplicates would shew the improbability
of the collection having been made for one person. For instance, ' Horreis
Galziard ' is contained in Parts I. and III., — ' I left my love behind me,'
in Parts II. and III. — 'My Lady Lauckian's Lilt,' ' Scerdustis,' ' Scullione,'
and 'Pitt on your shirt on Monday,' in Parts III. and V. — 'My Lady
Eothemais Lilt,' in Parts III. and VI. — ' Blew Breiks,' in Parts III. and
VII. — ' I love my love for love again,' in Parts V. and VI."
He now proceeds to give his opinion on the manuscripts, and begins,
"Among the airs in the fifth, we find Adieu, Dundee, which was not
included in The Dancing Master before the appendix of 1688 ; and Three"
Sheep-skins, an English couDtry-dance (not a ballad tune), which first
appeared in The Dancing Master of 1698. In the Sixth, 'Peggy is over
the sea with the Soldier,' which derives its name from a common Aldermary
Churchyard ballad, to which, I believe, no earlier date than 1710 can
reasonably be assigned."
The seven tunes mentioned by Chappell are in Dauney's List of 53,
taken from what is known as the Blaikie manuscript, 1692. We have
failed to see what they are like (with the exception of " Macbeth," which
we got from a transcript made about 1840), because we cannot ascertain
where the original manuscript is, if still in existence. " Macbeth " at any
rate is a stage tune, which from its character may have been composed by
an Englishman, Scotsman, or Irishman, and its nationality cannot be
proved simply by the name. The words usedby Dauney (page 143) are —
" Great part of the collection consists of popular English songs and dances
which we need not enumerate. The following are among those of which
Scotland may claim the parentage " (here he adds a list). Eef erring to " When
the King enjoys his own again," whether it can be classed as English or
not, its prototype is found in No. 55 of the Skene MSS. Part IV, which
we do not concede to be later than 1630, under the title of " Marie me
marie me quoth the bonnie lass." " The Nightingale," already mentioned,
though not claimed, is probably a Scottish version ; — we have seen a copy
of it published in 1649, also one of a later date, but both are much inferior.
We may remark here, that Chappell blamed Dauney for having omitted
22 EA.RLY SCOTTISH MELODIES.
from his index '' Let never Orueltie dishonour beauty," while at the same
time " The Nightingale" was not included in his own index to " The
Popular Music of the Olden Time."
In answer to Chappell's arguments, we have to say, (1) It has not
been proved by him that the Skene Manuscripts, or part of them, were
written after 1640, — though David Laing expressed his opinion that
they should probably "be considered as ten years subsequent in date,
either to 1615 or 1620," to which Dauney assigned them. (2) Mr
Dauney did not profess to give all the airs from the Skene MSS., nor
to place them in any particular order, and no doubt he considered
it unnecessary to print any duplicates. (3) The index printed in his work
is that of the manuscripts (not of the melodies he has given), and it is
practically complete, barring the solitary omission, and the indelicate titles
of two other tunes. (4) The statement that all the writing in Part II.
is a century later than the tune "Lady wilt thou love me," given at
the commencement, is pure conjecture. (5) Chappell, in introducing
what he calls " the large number of duplicates," (nine) as evidence of the
improbability of the collection having been made for one person, decidedly
shews want of " some care " when examining the manuscripts, otherwise
he would have seen, had he understood the tablature, that the airs were
only transposed into other keys, or had an altered fingering ; which proves
his supposition to be worthless. (6) The fact that " Adieu Dundee " is first
printed in "The Dancing Master" appendix of 1688, " The Three Sheep-
Skins" in "The Dancing Master" of 1698, and that he does not believe
"Peggy is over the sea with the Soldier" to be older than 1710, does
not disprove the existence of these tunes in manuscripts of earlier dates,
nor does it show that they were copied from these sources.
Chappell's sole test in judging such matters was apparently " The
Dancing Master." " He says, " When Dauney expressed his opinion that the
sixth was the oldest part, he was evidently deceived by the shape of
the (lozenge shaped) note," and further, that "The Scotch adhered to
old notation longer than the English, especially in writing music on
six lines." This reference to music written on six lines has no bearing
on any tablature whatever ; that of the Skene consists of four lines only ;
again, Dauney's observations were not confined to the shape of the
note, but included, in addition to other evidence, " the appearance of the
paper, besides which it looks as if it had been penned by a different and
an older hand." Prom what we have already mentioned, we think the
following advice given by Mr Chappell is quite superfluous: "I leave
it to Scottish antiquaries to determine whether corroborative evidence
of the date of the manuscripts may not be found among the titles of their
own airs. Mr Dauney even passed over 'Leslei's Lilt' without a
suspicion that it derived its name from the Scotch general in the civil
wars." Judging from his former argument, Chappell wished it to be
believed that the MSS. were not older than 1710, though he was not
WILLIAM CHAPPELL 23
bold enough to say so. Apparently his Scottish history must have been
defective, or his memory failed him, for there were other Leslies of
note before the general's time, among whom were John Lesly, Bishop of
Eoss, and Norman Leslie, who was concerned in the assassination of
Cardinal Beaton. Dauney's note to the air is, " There were various families
of this name in the early part of the seventeenth century, so that to fix
upon any one in particular to whom this lilt related is impossible." If
Chappell had read Dauney's work with any care, he would have found that
his strictures did not apply. He next complains, " It is time, however, that
we should have one collection to consist exclusively of Scottish Music. Burns
and George Thomson confess in their published correspondence to having
taken any Irish airs that suited them, and even in Wood's Songs of Scotland
the publisher's plan had been to include all the best and most popular airs,
and not to limit the selection to such as are strictly of Scottish origin."
Chappell did not seem to regret that English collections contained Scottish
and Irish airs, and were not confined to those of strictly English origin.
In referring to " The Three Sheep-Skins," as an English country dance,
does he imagine that melodies were limited merely to ballads and songs ?
If so, what was his reason for introducing many country dances into his own
work, which is headed on most of its pages, '' English Song and Ballad
Music"? Chappell insinuates that "The separation of the English and
Irish tunes from the Scotch in these collections was nominally attempted by
Mr Stenhouse in his notes upon airs in Johnson's Scots Musical Museum.
I say 'nominally,' for these notes are like historical novels, — wherever
facts do not chime in with the plan of the tale, imagination supplies the
deficiencies. Mr Stenhouse's plan was threefold, — firstly, to claim every
good tune as Scotch, that had become popular in Scotland; secondly, to
prove that every song of doubtful or disputed parentage came to England '
from Scotland ' at the Union of the two Crowns ;' and, thirdly, to supply
antiquity to such Scotch airs as required it. All this he accomplished in
a way quite peculiar to himself. Invention supplied authors and dates,
and fancy inscribed the tunes in sundry old manuscripts, where the
chances were greatly against any one's searching to find them. If the
search should be made, would it not be made by Scotchmen ? Englishmen
care only for foreign music, and do not trouble themselves about the
matter; and will Scotchmen expose what has been done from such
patriotic motives ? Upon no other ground than this imaginary impunity
can I account for the boldness of Mr Stenhouse's inventions."
Chappell now sums up with the following remarks: "Unfortunately
for his fame, two of his own countrymen did not think all this ingenuity
necessary for the reputation of Scottish music. Mr David Laing, therefore,
made a tolerably clean sweep of his dates, and Mr George Farquhar Graham
of his quotations from old musical manuscripts. The former supposed
Mr Stenhouse 'mistaken," deceived;' the variety of his accomplishments
was not to be discovered at once. The second occasionally administered
24 EAELY SCOTTISH MELODIES
rebuke in more explicit language ; but, to the present day, the depths of
Stenhouse's inventions have not been half fathomed. Some of the effects
of his ingenuity will never be wholly obviated. One class of inventions
is very difficult to disprove, where he fixes upon an author for a song, or
makes a tale of the circumstances under which it was written. Such
evidence, as in the case of ' She rose and let me in/ will not always be at
hand to refute him (ante, p. 509 to 511), and much of this class of fiction
still remains for those who are content to quote from so imaginative a
source. It is to be hoped that any who may henceforth quote from him
will give their authority, for he has sometimes been copied without acknow-
ledgment, and thus his fictions have been endorsed by respectable names."
In a footnote he endeavours to shew that Dauney was led into an error by
using one of Stenhouse's notes. We shall refer to this under " Katherine
Ogie." Without undertaking a defence of William Stenhouse, or con-
doning his numerous inaccuracies, we nevertheless hold that Chappell's
treatment of him is unjust and exaggerated, and that to exhibit him as
having purposely pursued a course of deceit is, to say the least, entirely
unwarranted. We should like to hear of a perfect book or individual ; we
see that even William Chappell is not infallible. Who can believe such
charges without proof ? To point out errors does not prove that the person
who made them was guilty of fabrication, or wilful deceit. Neither is the
case strengthened by alluding to the late Dr David Laing, nor to George
Farquhar Graham. That the former corrected a number of Stenhouse's
dates, and supposed him ' mistaken,' ' deceived,' does not support Chappell's
accusations, and it is easy to show that Laing committed mistakes in dates
himself. Stenhouse's efforts embraced notices of the songs as well as the
airs, and his information concerning both the words and music had to
be gathered from various quarters, for he had neither public libraries, nor
yet the British Museum at his elbow. We have still to learn how G. F.
Graham administered rebuke to an individual who was dead twenty years
before he took up the subject of " The Songs of Scotland." These charges
were made after Stenhouse's decease, and he had no opportunity of vindicating
himself, nor of shewing such manuscripts as he possessed. Chappell's only
attempt to prove his accusations, is the endeavour to establish them
through the doubtful air, " She rose and let me in," see page 35.
In concluding his chapter entitled Anglo -Scottish Songs, Chappell pays
a tribute to G. F. Graham, the editor of " Wood's Songs of Scotland ; " but
at the same time, he regrets that Graham did not go far enough in support
of his (Chappell's) own opinions, and finished by stating, " The following
two specimens of Anglo-Scottish songs will suffice as examples of that class
of popular music of the olden time," viz., " Fife and a' the lands about it,"
and " Sawney was tall and of noble race" (Corn riggs). These and other
tunes included in his footnotes, we shall refer to under their respective titles.
CHAPTER V.
ENGLISH CLAIMS.
JOHN ANDEESON MY JO.
In " The Popular Music of the Olden Time," page 117, and in the Appendix
thereto, page 770, " John Anderson my jo " has been claimed for England
John Akhebson my Jo.
' lycJujjJiip.^ujjJU. JujjJif- fip^r
Skcnt.
I am the Duke or Norfolk ob Pauls Steeple.
dm
Playford
Pauls Steeple.
jjjp-CfNjjjj. jujjjf- \ irrrrr'r
John Anderson my Jo.
wz f-i a e czg.
jjj^iff^H^Eij^^ i frrirfr
ffffMrrf iftff^rt^^^fr'rJ"^^
LfLfirLf i LfLTiriijicfcfi^p'ir J i j - i
^
i
rrrrr r i r r r r i" f i rrr J
900
> > rffr i i'rr i r{ J f ' r , cf i ffr J ifJf^jHJ^
26 EARLY SCOTTISH MELODIES.
by Chappell as " a mere modification of the very old English tune, " I am
the Duke of Norfolk, or " Paul's Steeple." His argument is based on the
publication of a tune called Paul's Steeple " in John Playford's " Dancing
Master" (which he dates 1650, though the correct date is 1651), and
on the fact that Paul's Steeple had been destroyed^ by lightning about
one hundred years earlier (15Q1), a catastrophe lamented in a ballad
printed a few days after, — all which we may grant to be the case. But as
Chappell gives no evidence as to the tune earlier than 1650, we may, on
the same reasoning, affirm that the tune named " The Old Hundred " is as
old as the Psalm. He next endeavours to support his argument by dragging
down the age of the Skene MSS. (in which " John Anderson " appears) to
1710, claiming in this way a considerable priority for " Play ford." Chappell,
however, does not inform us what David Laing, in his additional notes to
Stenhouse's Illustrations, says regarding the Skene MS. : — " I have some
doubts whether it should not be considered as ten years subsequent in date
either to 1615 or 1620." Accepting Laing's opinion, his latest estimate still
leaves a margin for Skene of over twenty years. To shew Chappell's
perfunctory and misleading treatment of the Skene and other Scottish
manuscripts, we refer the reader to pages 20, 21, 22. Without better proofs
than those adduced, therefore, Chappell's claim lacks foundation. As to his
allusion to the Irish " Cruiskeen Lawn," we shall leave our neighbours
across the Channel to defend themselves. The version of " Paul's Steeple "
given in the 1893 edition of Chappell's work prepared by H. Ellis Woold-
ridge differs slightly from that given in " The Popular Music of the Olden
Time."
JOHN, COME KISS ME NOW.
In " The Popular Music," pp. 147-8, Chappell says, " This favorite old
tune will be found in ' Queen Elizabeth's Virginal Book ' ; in ' Playford's
Introduction ' ; " and in several other books that he mentions : but the first
work to which he appends a date is " Playford's Division Violin (1685)."
He further gives quotations from some plays in which the name of the
tune occurs ; the earliest of which plays is Heywood's " 'A woman hilled
with kindness? 1600 : ' Jack Slime — I come to dance, Dot to quarrel ; come,
what shall it be ? Bogero ? Jenkin — Bogero, no ; we will dance The
Beginning of the World. Sisly — I love no dance so well as ' John come kiss
me now.'" We may remark here that "The Companion to the Play-
house," 1764, and " The Theatrical Dictionary," 1792, give the date of the
play as 1617. Chappell states that the tune has no Scotch character, but
here we differ from him, as in our opinion its characteristics are as much
Scottish as English. He also informs us that it is one of the songs parodied
in Andro Hart's Compendium of Godly Songs, 1599, on the strength of
which it is claimed as Scotch. Chappell, to strengthen his position, adds
in his appendix, pp. 771-2:— "Thi3 tune is also included in 'Musick's
ENGLISH CLAIMS.
27
Delight on the Cithern,' 1666 ; " and he further takes exception to what
he had already said, that the tune was not to be found in any old Scotch
copy, by admitting it to be in the Blaikie MS. We refer our readers to
the Appendix to this volume for the Queen Elizabeth Virginal Book, and
to page 11 for the Blaikie Manuscript. It may as well be stated that we
have found " John come kiss me now " in one of Playford's earliest pub-
lications, viz. : — " A Book of Instructions for the Cithern and G-ittren, 1652,"
where it is given in three different ways, but none of them resemble the
version produced by Chappell, nor the Scottish copies of Blaikie, 1692, nor
Margret Sinkler, 1710. In all probability the Scottish air was different
from the English one. The version of the tune which Chappell gives is a
compound from two sources, "Playford" and "Walsh's Division Violin," —
the dates of both of which are doubtful. Mr Wooldridge prints the tune
from the Fitzwilliam MS., which Chappell always styles "Queen Elizabeth's
Virginal Book." Stenhouse's assertion that the second strain of the tune
called " The New-rigged Ship " is a mere copy of the second part of " John
come kiss me now," thrown into triple time, is fallacious.
John comb kiss us now.
l$UJ f J" IJ.J'fJ ff U.J f JJ. C fJl r JJ)J . I
John comb kiss mf. now.
1652.
%
m
g §S 2
fS
M
#-#
John comb kiss mb now.
(1685)
John coke kiss me now.
^TJ-Jf^.irjfcfi*Jf[tfifjf U'Jf Jift m r^F
, John comb kiss me now.
1692
fi:^rfiffi' i ffrJNj'' i J-Jff i ffr[fi f [|^^
John come kiss me now.
1710.
frjflTOn' i jflafl iiTi'Ujm i i'- ry jpia
PEG-A-EAMSEY.
Under the above title Chappell, in his " Popular Music," pp. 218-20,
gives two tunes. " The first is called ' Peg-a-Ramsey ' in William Ballet's
Lute Book, and the second in the Dancing Master, 665, is named
28
EARLY SCOTTISH MELODIES
' "Watton Town's End,' and to both tunes several songs are sung, including
that of 'Bonny Peggy Ramsay.'" To "Watton Town's End," we make
no claim; but we are informed by Stenhousc that the song by Burns
commencing "Cauld is the e'enin' blast" in Johnson's Scots Musical Museum,
No. 583, is adapted to an old Scottish Air called " Peggy Ramsay." This
tune, however, bears no relation to the tunes in " The Popular Music of
the Olden Time," though it suggests that there was a Scottish tune of the
same name. We find the original Scottish air in the "Rowallan
Manuscript," circa 1629, as "Maggie Ramsay," and of this, the tune taken
from William Ballet's Lute Book is merely an English version. Chappell
adds that " ' Ballet's Lute Book' contains many favourite tunes of the 16th
century," but this is no evidence of the age of the book, and we are doubtful
if it is so early as Elizabeth's reign. See note on " Cauld is the E'enin'
Blast," page 237.
Peggy Raj
|Hp-
ss»
r.
* t
■»
S
rt
*
i-i
hj
MagieRam
3A1
9 a
— t
35
t*
-Li
i — 1
-•
^
ta — 1
^
u_
tiw
1 J ^ * ' —
ROWAIJ.AN MS.
H
-#-
--*
1 — *
f-#
J
-#
^
~r"«
—
Li—*
M
UP IN THE MORNING EARLY.
Whether the air to the Scottish song of the above name, or that which
Chappell gives from Playford's Dancing Master, 1651 or 1652, called "Stingo
or the Oyle of Barley," be of Scottish or English origin, we shall not
presume to determine. According to Chappell, it is a question of dates.
He states correctly that it is found " in every edition of the Dancing Master
and in many other publications." The tune appears under the title of
" Stingo or the Oyle of Barley " in Playford, 1651 up to 1690, and after-
wards as " Cold and Raw," said to be derived from a " New Scotch Song "
written by Tom D'Urfey. Notwithstanding all this, we shall present to
our readers what Chappell omitted to mention when he refers to John
Hilton's work, " Catch that catch can," 1652. The tune is there called
" Northern Catch," which raises the presumption that it may not be English.
Again, in quoting D'Urfey's " Pills to Purge Melancholy," 1719, Chappell
neglects to state, that immediately following "The Farmer's Daughter,"
printed with the air in vol. ii., page 169, is a " New Song to the Scotch Tune
of ' Cold and Raw.' " In relating Sir John Hawkins's anecdote about Queen
Mary, the consort of King William III., he says, " Mr Gosling and Mrs
Hunt sung several compositions of Purcell, who accompanied- them upon
ENGLISH CLAIMS
29
the harpsichord ; at length the Queen beginning to grow tired, asked Mrs
Hunt if she could not sing the ballad of " Cold and Eaw." In this
quotation, he suppresses the words " old Scots," which precede the word
" ballad " as related by Sir John. In a footnote he gives as his reason
for this omission, that Hawkins " had evidently seen no older copy of the
tune than that contained in the Catch (he elsewhere mentions Hilton's
Catches as Playford's first publication)."
Stingo, on The Otle 07 Bablt.
165L
P
4ff=^
a
c— *
d W ' g — *■
Nobthsbx Catch.
y^U Jr f\t
1652.
4 * 4
i . ' • •
Cold asb Raw.
1695.
VlJJJJ l fffjJ I J p
^m
■&-^
Up ci te MoaKcia
(1758)
PI
&
gff
£
Kt*
^a
4*-*-l
xr-»
Up ib the Mosmxa.
<yi[jij;j%rj;ifjfl^ij. f <jbihi
jjjjif fiTi f -rJu jjjJUJJrfipJJJjij ,j.i
ffi-fif-r i^j-J-Ji-'frfH^u-fi
■ a ■
" Stingo," or " Cold and Eaw," is, however, much inferior to the Scottish
version of " Up in the morning early," even if the latter were evolved out
of either or both of them. In the Straloch Manuscript, written in tablature
for the lute, said to be dated 1627, there is a tune named " Earlie in the
30
EAELY SCOTTISH MELODIES.
Morning," but as the manuscript disappeared over fifty years ago, we are
not in a position to assert whether it is or is not the same air. The
manuscript, we understand, passed into unknown hands at the sale of Mr
Chalmers's library in 1845, and a copy which had been made by G. E.
Graham, who lent it to a friend, is unfortunately lost. It is entirely
doubtful which country produced the melody. In noticing the tunes
" Stingo, or Oyle of Barley " and " The Broom, the bonny broom," Chappell
places the former in the reign of Charles I., and the latter in the time of
the Commonwealth, though both are found in " The Dancing Master," 1651,
for the first time, and Charles was executed in January 1649.
A HEALTH TO BETTY.
This air, which is better known under the title of " My mither's ay
glowran o'er me," — the opening line of Allan Eamsay's song, — stands in the
Popular Music of the Olden Time, pp. 366-7, as an English country dance,
to which the following words have been added, "Fourpence, half -penny,
farthing," and the tune is claimed on the strength of its being found
A Health to Betty.
165!. ^
A Health to Bettie. 1692.
if> 1 iii'^i i jif{J; i i.irr^T t i (r;f;iV , Wi^irf J »
T— -~- -"—-- "*"--
My Mither's ay GLOWEm* o'er he.
My Mither's ay GLOWEm* o'er me. ^^ - (1726)
i.b i-pi »^i p?«n — * * \? , mt\t* t* i-Phf*himr» i — l-n
1
' t'tiSi 1"f E> ^iL "'*'" -*"\ — '~V~~t'~f~~'~f"^~. ~^~j?*wzr^ t ■ * h
2
t h r uL^u^ i i .j;-a: — fJ-^3^^^=fi&*=jt|
Fourpence h
ALT
PEN
NY.
jP^|
2*
■r—
£
1711.
\ p m ,
P-— |
£V
-*
1 ">w
w
rpr:
_j — t
in Playford's Dancing Master, 1651. Stenhouse, in his notes to Johnson's
Scots Musical Museum, says, " Eamsay's verses are adapted to an ancient
tune, in triple time, called ' A Health to Betty,' which originally consisted
of one strain, and is printed in this simple style in Thomson's ' Orpheus
ENGLISH CLAIMS.
31
Caledonius ' in 1725. This tune appears to have been one of those which
were introduced into England about the union of the crowns ; for it is one
of those collected and published by old John Playford in his Dancing
Master, printed in 1657. The second strain is a modern addition." Sten-
house has not given the earliest date for Playford, but that is of slight impor-
tance. G. P. Graham accepts the statement, and adds, " The imperfect close
upon the second of the key is a peculiarity not often found in minor airs of
any country." We are prepared to uphold the above opinions against those
of Chappell, for the following reasons : — If the original words of " A
Health to Betty " did not take root in England, the tune was received as a
country-dance under that name, and we have never seen any attempt to
prove an English version of the song given by Thomson, though D'Urfey
wrote to this tune ''The Female Quarrel," a lampoon upon Phillida and
Chloris, in the " Pills to Purge Melancholy," previous to the " Orpheus
Caledonius ; " nor have we seen any English song bearing a reference in
its words to the name of the tune. The air is contained in the Blaikie
manuscript, and has a second strain. Chappell, quoting another song under
the same head, gives, " ' The Northern Turtle,' to a Northern Tune, or ' A
Health to Betty.' " In this instance, he tries to make out that " A Health
to Betty " was not a Northern, but an alternative tune, though in other
cases he takes a different view of the conjunction. See our remarks on
" The English Dancing Master," page 15.
MONTROSE'S LYNS.
Chappell, in " The Popular Music," pp. 378-381, gives an account of a
song called " Never love thee more," commencing " My dear and only love
take heed," which is contained in a manuscript volume of songs and ballads,
I'LL HBTIR LOTS THKB BOBi
with music, dated 1659, in the handwriting of John Gamble, the com-
poser. After mentioning that the air had been sung to other words, he
32
EAELY SCOTTISH MELODIES
states that "James Graham, Marquis of Montrose, also wrote lines to this
tune, retaining a part of the first line, and the burden of each verse ;" and
further, " It was, no doubt, the Marquis of Montrose's song that made the
tune popular in Scotland. It is found under the name of Montrose Lyns,
in a manuscript of lyra-viol music, dated 1695, recently in the possession
of Mr A. Blaikie. The tune has therefore been included in collections of
Scottish Music ; but " My dear and only love, take heed " continued to be
the popular song in England, and from that it derives its name." Observe
Chappell's animus in quoting dates of Scottish manuscripts. Whether
John Gamble's tune is the original, we shall not pretend to say, but
the verses of the Marquis of Montrose were certainly written before
the dates of 1657 or 1659, as he was executed'in 1650. Eobert Chambers
gives no opinion in his Scottish Songs, 1829, and in his " Songs prior to
Burns," he merely quotes Chappell's words. That our readers may compare
the two, we give the air taken from Gamble's MS. and that from the Blaikie
MS. ; they differ from each other very considerably.
BY THE BOEDEE SIDE AS I DID PASS.
In " The Popular Music," page 439, is a song claimed for the south of
the Border, the words of which we do not intend to dispute. It is given
as " A border-song, entitled ' Ballad on a Scottish Courtship,' from Ash-
molean MSS., Nos. 36 and 37, article 128 ; and we are also told that tune
is, in character, like Gavalilly man. Ashmole held a captain's commission
By the Borders side is I did Pisu.
H i I _H
under Charles I., in the civil war, and probably noted it down from hearing
it sung." We have not a doubt that Ashmole heard the air, which is
no other than a rude version of the old Scottish tune of " Calder Fair "
given in f measure, and that he likely wrote it down from memory.
Apparently the words were from his own pen, as it is evident no Scotsman
would sing such nonsense to his lass, as the words given us by Chappell.
By the border's side as I did pass,
All in the time of Lenton it was,
I heard a Scotsman and his lass,
Were talking love and lee.
He courted her in Scottish words,
Like language as the land affords,
Wilt thou not leave these lairds and lords
My Joe, and gang with me.
Although this account does not prove that the tune found its way
into England at the union of the two Crowns, it shows that it was
ENGLISH CLAIMS. 33
carried across the Border in the reign of Charles I., notwithstanding which
Chappell says, "the popularity of Scottish music in England cannot be
dated further back than the reign of Charles II."
THE BEOOM OF COWDENKNOWS.
In " The Popular Music," pp. 458-461, a tune called " The Broom, the
bonny Broom," is given from the earliest edition of "The Dancing Master,"
1650 ; * it is also found in " Musick's Delight on the Cithren," 1666.
Chappell says, " I believe this to be the tune of The new Broome on hill, as
well as of another ballad in the same metre, and issued by the same printer,
entitled, ' The lovely Northern Lasse ' —
' Who in the ditty here complaining shews
What harme she got milking her daddies ewes,'
to a pleasant Scotch tune called The broom of Cowdon Knowes. London
printed for Fr. Coles in the Old Bayly (Mr Halliwell's Collection). This is
the English ballad of The broom of Cowdenowes, and the tune is here said
to be Scotch. I believe it not to be Scotch, for the following reasons : —
Firstly, the tune is not in the Scottish scale, and is to be found as a three-
part song in Addit. MSS., No. 11,608, British Museum. Secondly, because
English tunes or songs were frequently entitled ' Scotch ' if they related
to Scottish subjects, or the words were written in imitation of the Scottish
dialect ; . . . . and I rely the more upon this evidence from having
found many other ballads to the tune of The broom, the bonny, bonny
broom, but it is nowhere else entitled Scotch, even in ballads issued by
the same printer. Thirdly, Burton, in his Anatomy of Melancholy, quotes
it as a common English tune. Fourthly, because 1650 is too early a
date for Scotch tunes to have been popular among the lower classes in
England, — I do not think one can be traced before the reign of Charles II.
It is a common modern error to suppose that England was inundated with
Scotch tunes at the union of the two crowns." Let us reply in the same
order to Chappell's reasons : — Firstly, Scottish music was never confined
to any particular scale, though some writers would have us believe it was
limited to a pentatonic scale, i.e. one of five notes, in consequence of the
use of some supposed instrument having just that number of distinct
sounds. Why Chappell advances this argument we cannot understand,
because at page 790 he says, " Every Bagpipe that I can trace had a fourth.
The Scotch Highland Bagpipe has not only a fourth, but also the two
sevenths, major and minor, can be produced upon it. Every scale, under
the old system of music, had a fourth." After his own admission we have
only to ask, Were our ancestors' voices deficient in those two intervals ?
Secondly, we find that spurious as well as genuine Scotch tunes and songs
were inserted in " The Dancing Master " and other works of Playford,
* The earliest edition is "The English Dancing Master," dated 1651.
C
34 EAELY SCOTTISH MELODIES.
and were also printed by Walsh ; further, Tom D'TJrfey and other Grub
Street writers made attempts to write in the Scottish dialect, which shews
conclusively that both Scottish tunes and songs had become fashionable
and worth imitation. Neither is it of any consequence that the printer, Fr.
Coles, afterwards omitted to insert the word " Scotch " when linking the
tune to other ballads. Thirdly, Burton's subject was not a musical one,
and the mere naming of a tune was sufficient to serve his purpose. He was
probably incompetent to decide its nationality. Fourthly, Chappell thinks
a Scottish tune cannot be traced before the reign of Charles II. For
evidence on that point, we refer the reader to Lashley's March, page 40.
Chappell gives the tune from " The English Dancing Master," and adds,
" The first Scotch song of The broom of Cowdenknows was printed in Allan
Eamsay's Tea- Table Miscellany, 1724. It is there classed among the ' new
words by different hands,' and commences, ' How blyth ilk morn was I to
see.' The subject of the older English burden is there retained. The above
version of the tune is not so good as that in The Beggars' Opera, or in
Thomson's Orpheus Caledonius ; but those copies are of more than seventy
years later date." Eobert Chambers, in " The Songs of Scotland prior to
Burns," says " that the tune, which is a ballad one in one part, was recom-
mended to Dr Pepusch by its sweetness and simplicity, and adopted by him
as the parting strain of Macheath and Polly in The Beggars' Opera." He
likewise remarks, in connection with " The Lovely Northern Lasse," that
" Coules, the printer, was a publisher of broadside ballads in the reign of
Charles II., if not also somewhat earlier." He further states, that in " the
Eoxburghe Collection one of these pieces bears the initials of ' LP.,' which
we may consequently regard as a shadow of the name of the author of The
Northern Lass." He also drags in " The new broom " in the Pepys Collection
commencing, " Poore Coridon did sometime sit hard by the broome alone,"
but it has no weight whatever, as Chappell shews that Pepys in his diary first
refers to Scotch music in 1666. Such authorities as Stenhouse, G. F.
Graham, and John Muir Wood, consider the melody a genuine Scottish one.
The first says, " This is, in all probability, one of the Scottish tunes that
were introduced into England not long after the union of the crowns in
1603." Graham says, "This is a very ancient and beautiful air of one
strain," and adds, "that in all the versions given in the older Scottish
collections, the air begins on the second note of the scale, while in Play-
ford's ' Dancing Master ' 1651, it begins on the fifth, and in Watt's ' Musical
Miscellany,' and some other works, on the key-note itself." We concur in
what these gentlemen have stated ; the utmost that can be said for Play-
ford's version is, that it ends on the second of the key like the Scottish
one, but it differs in other respects, and is very insipid. May not this be a
tune that had found its way into England before the reign of Charles II. ?
When it is called by Coles " a pleasant Scotch tune," he does not say " a
pleasant new tune," nor " a pleasant new Scotch tune." Does not the refrain
of the song itself suggest its Scottish origin, — "The Broom of Cowden-
ENGLISH CLAIMS.
35
knowes" being on the north side of the Tweed ? Had the original song
been English, would it not have been more likely for the broom to be
that of Eichmond Hill or Hounslow Heath ? The three different songs in
" The Tea Table Miscellany " to the tune of " The Broom of Cowden-
knows " prove sufficiently that it was well known to Eamsay's contributors,
and suggest the possible existence of earlier words.
THS BEOOM 01 COWDKHKN 0W8.
The BROOM OF Cowdehkhows.
-h-
\ ^^^li^:m^m\MiM^
The first version is from Playford, the second from Eamsay.
SHE EOSE AND LET ME IN.
In " The Popular Music of the Olden Time," pp. 509-511, under the
title of " The Fair one let me in," Chappell informs us that " The words of
the original song, ' The night her blackest sables wore/ or ' The Fair one let
me in,' were written by D'Urfey, and the tune composed by Thomas Farmer.
They were published together in ' A New Collection of Songs and Poems
by Thomas D'Urfey, Gent. Printed for Joseph Hindniarsh at the Black
Bull in Cornhill ' 1683 (8vo), and there entitled ' The Generous Lover, a new
song set by Mr Thomas Farmer.' Although there can be no doubt of the
words and music of this song, it has been claimed as Scotch. About fifty
years afcer its first publication, the tune appears in a corrupt form in
Thomson's ' Orpheus Caledonius,' ii. 14, 1733. The alterations may have
arisen from having been traditionally sung, or may have been made by
Thomson. There are also a few changes in the words, such as the name of
' Stella,' altered to ' Nelly,' and ' She rose and let me in ' to ' She raise and
loot me in.' These were copied from vol. ii. of Eamsay's ' Tea Table
Miscellany,' in which the song is marked ' Z ' as being old. Allan Eamsay
was not particular as to the nationality of his songs, — it sufficed that they
were popular in Scotland. His collection includes many of English origin ;
and several of the tunes to which the songs were to be sung are English
and Anglo-Scottish. Eitson claimed this, in his Essay on Scottish Song,
as an English song of great merit, which has been scotified by the Scots
themselves." Eitson, however, does not say that the song is by Tom D'Urfey
nor the music by Farmer, and he adds, " The modern air, a fine composition
(probably by Oswald), is very different from that in the Pills." Eitson
here pays a compliment to James Oswald. Stenhouse disputes Eitson's
assertion, upon which Chappell remarks, " Mr Stenhouse's opinion of the
merits or demerits of the song are of little importance, it suffices to say
that Burns differed from him ; " — further on Chappell says, " It would have
36
EAELY SCOTTISH MELODIES.
been unnecessary to refer at such length to Mr Stenhouse's ' notes ' if they
had not been transferred to more recent works ; but, in the first place, the
editor of Messrs Blackie's Booh of Scottish Song repeats his statement, that
' the original Scotch words are to be found in Playford's Choice Ayres.' In
the second, Mr Stenhouse telling us that this song was ' originally written
by Francis Semple, Esq., of Beltrees, about the year 1650/ it has been
recently printed among poems by Francis Sempill. Even the learned editor
of Wood's 'Songs of Scotland ' does not question statements so audaciously
put forth, although he has frequently had occasion to convict Mr Stenhouse
of mis-quoting the contents of music-books that he pretended to have read,
but was unable to decipher." We would first direct aitention to the words
" set by," to which Ohappell himself applies two meanings. Whether
The Faib One let mi in. 1683.
f Ti%nr^%y%iJ;j f rfr;rfiw lei
She hose and let me is. 1710,
(yfjij ff rif-f r f i Jjj]Ji.iJ3ij ff f i ff ff ifrg j a^
t-t f f i " . 1 1 » f
W^ i r^HJ My ii '/'rti^F !
they signify composed by, or simply adapted to the words of the song, or
refer solely to the addition of an accompaniment to the tune, — they have a
very doubtful significance.* Chappell, referring to Stenhouse, page 616,
says, " One class of his (Stenhouse's) inventions is very difficult to disprove,
where he fixes on an author for a song, or makes a tale of the circumstances
under which it was written. Such evidence, as in the case of ' She rose and
let me in,' will not always be at hand to refute him {ante, p. 509 to 511), and
much of this class of fiction still remains for those who are content to quote
from so imaginative a source."
Without expressing any opinion on Stenhouse's assertions, or on the
appearance of the tune in the " Orpheus Caledonius," 1733, in a corrupt
form, or on any alterations by Allan Eamsay, or anything copied from him,
the editor simply states that he has the air in " Margaret Sinkler's MS.
Musick Book 1710," under the title of " She roase and let 'm In," proving
that it was known by that name much earlier than the publication of
" The Tea Table Miscellany." The version given in " Sinkler ". is natural
•We are of opinion that the word set may denote simply the writing down of the tune, from
some one who had not the ability to do so, and who sang or played entirely by ear. See
Chappell's own definition of the word set in his appendix, page 786, under Lilliburlero.
ENGLISH CLAIMS. 37
and assuredly superior to the strained artificial set presented by Chappell
from D'Urfey. It is absurd to say that Eamsay altered " She rose and let
me in;" for these words do not occur in D'Urfey's song, although the last
line of his third stanza is, " She'd rise and let me in." The question, how-
ever, is not one of words, so we give the two versions of the tune, those
of D'Urfey and Sinkler, from which our readers can judge of their character
and nationality.
MUIRLAND WILLIE (THE NORTHERN LASS).
In " The Popular Music of the Olden Time," pp. 559-561, under the
title of " The Northern Lass," Chappell contends that the air is English ;
and in support of his claim he states that " Oldys, in his MS. Additions
to Langbaine, says, ' In a collection of Poems called Folly in Print, or a
Book of Rhimes, 8vo, 1667, p. 107, there is a ballad called " The Northern
Lass," — She was the Eair Maid of Doncaster, etc' There ,are two songs
on the Fair Maid of Doncaster in Folly in Print, the first entitled, The
Day Starve of the North, etc. : it consists of sixteen stanzas of four lines
and commences thus —
' This wonder of the Northern Starre,
Which shines so bright at Doncaster,
Doth threatin all mankind a warre,
Which nohody can deny.'
The above was evidently written to the tune of Green Sleeves. The
second song is entitled, ' The Northern Lass, to the same person, to a new
tune.' It begins thus : —
' There dwells a maid in Doncaster
Is named Betty Maddocks,
No fallow deer, so plump and fair,
E'er fed in park or paddocks,' etc.
The new tune is found in Apollo's Banquet, 1669 (within two years
of the date of the book), under the name of The Northern Lass. It is
there arranged for the Violin, and seems to have been copied from some
pipe-version of the air. By the repetition of one phrase, the second part of
the tune is extended to sixteen bars (instead of eight, which the words
require), but if bars twelve to nineteen, inclusive, were omitted, it would be
of the proper ballad-length. All later versions contain only eight bars in
each part. The above is still popular, but in a different form. Instead of
being a slow and plaintive air, it has been transformed into a cheerful one.
In 1830 it was published under the title of ' An old English air,' arranged
as a Eondo by Samuel Wesley, but between 1669 and 1830, it appeared in
Pills to purge Melancholy, in The Merry Musician, and in several ballad
operas. It is printed twice in The Merry Musician : firstly, to a song by
38
EARLY SCOTTISH MELODIES.
D'Urfey; and secondly, to one from the ballad-opera of Momus turn'd
Fabulist, commencing —
' At Athens in the market-place
A learned sage mounted a stage. '
Korthxsh Labs ?
yiij; ff i rjfrifcrci^j. ujftifftfTflfiiififf ^
Muirlahd WlLLIt * „*— *. 1762.
y«JJ f { ifffr Hf { fifif { J Wt iff Wcff|ff| p
An old English An.
WWW l^jrtifj^^
tf£M
1830.
iltl
^f l rfffriCffr'if'rif i
tiucif'nctf^j'^
8 -I
Tax Nobteeeh Lass.
m
F¥^$
s
3£E
P=E
JH5P 2
This won - der of the North • era starre Which shines so bright at Don • cas-ter Doth
i i ' i | 1 1 i)i i I, n'llir- | T i
threat • en all man • kind a warre Which no • bod - y can de - ay. The
rn i \ j- m r
French, the Dutch, the Dan • ish Fleet, It ever they should chance to meet, Most
all lye
In the ballad-operas it generally takes the name from D'Urfey' s song,
commencing — ' Great Lord Frog to Lady Mouse,' etc. The versions in the
ballad-operas — even the two in The Merry Musician — differ considerably, but
ENGLISH CLAIMS. 39
it may suffice here to give the tune as it is now known, and in the form in
which it was published by Samuel "Wesley." In his appendix, page 786,
Chappell tells us, regarding "The Northern Lass," — "The Scotch sing the song
of Muirland Willie to this tune, — not to the slow version, which is evidently
the original, — but to the air in its abbreviated dancing form. "We do not
find Muirland Willie sung to it until after it had been turned into a lively
air by D'Urfey, and although the words of the Scotch song are old, we have
no indication of any tune to which they were to be sung in early copies.
They seem to have been intended for Green Sleeves, more likely than any
other air. Muirland Willie was first printed to this tune by Thomson in
his Orpheus Galedonius, folio, entered at Stationers' Hall on 5th January
1725-6. The tune had then been published, as Great lord Frog, in Walsh's
%i New Country Dances for the year 1713, with words in vol. i. of The
Merry Musician, dated 1716, and in vol. i. of Pills to purge Melancholy,
1719."
In answer to the preceding arguments, our views are as follow : —
I. It may be stated as against Chappell's 1669 version of the air, that
another tune called Northern Lass is contained in Apollo's Banquet, 1687,
which suits the words of There dwells a maid in Doncaster admirably,
without requiring any curtailment. II. The version of the tune published
under the name of Great Lord Frog and Lady Mouse, by Walsh, D'Urfey,
and others, though somewhat resembling, is much inferior to the Scottish
version of Muirland Willie. III. The Scottish versions have never
essentially differed from each other since Thomson's time to the present
day, though the tune has been very frequently published, and that
always under the title of " Muirland Willie." IV. Chappell does not shew
his readers any version of the air from the sources he quotes between
1669 and 1830, nor does he say where Samuel Wesley got the tune under
the title of " An old English air ; " but he brings forward his favourite
conjecture — " They (the words) seem to have been intended for ' Green
Sleeves ' more likely than any other air." This statement is quite on a par
with his assertion that " Jenny's Bawbee " was meant to be set to " Sike a
wife as "Willy had." Whether the tune of " The Northern Lass " as found
in Oswald be Scottish or English, it is entirely different from those before
referred to in connection with " Muirland Willie."
IN JANUAEY LAST.
This tune is claimed for England in " The Popular Music of the Olden
Time," pp. 575-6. Chappell, in asserting his country's right to the air,
says, " This is a song in D'Urfey's play The Fond Husband, or The Plotting
Sisters, which was acted in 1676.* The words and music are to be found
in Playford's Choice Ayres, ii. 46, 1679, and in vol. i. of all editions of
Pills to Purge Melancholy. The tune is in Apollo's Banquet, 1690, and
* "The Companion to the Play-house " has 1678.
40
EAELY SCOTTISH MELODIES.
probably in some of the earlier editions which I have not seen." He also
makes reference to some other ballads, and mentions that " Allan Kamsay
included ' In January Last ' in vol. ii. of the Tea-Table Miscellany as a
'song to be sung to its own tune.' He altered some of the lines, and
improved the spelling of the Anglo-Scottish word3, but made no addition.
Eamsay's version was followed by Thomson in his Orpheus Caledonius
(ii. 42, 1733), but he changes the name to 'The Glancing of her Apron;'
taking that title from the seventh line of the song. In one of the Leyden
MSS. (about 1700), the tune bears the name of The bonny brow, from the
eighth line of the same." Chappell then gives the air, saying, " The following
is the old tune, with the first stanza of the old words " — but he omits to
state the source of his version. Playford, in "Apollo's Banquet," 1687, gives
Ih Janoact Last.
1679.
JJy* 1 1 * -it-* 111 i
A Scotch Tume.
1687.
Lashley's Match and General Leshley's March.
^fir t Jiiifipij. f Jufir f J3irjj]iJ- c Ju frir rir jpgj
t.,.»rt,p .f i»-f-.-r" .f-rfr_.ff.
mm
fegfe
' ' I ' jj r VL ? In? BE T\\0. *ft
1692
S3*
Lady Bonn's lilt.
<ytfiffjjifjj i jfjju.fiffiff i rjjijijjjjij.ij if rrf ^ii
the air, No. 55, called " A Scotch Tune," without any distinctive title, and
it is but slightly different in the first strain from that given by Chappell.
The tune, we are informed by Chappell, is said to bear the name of " The
Bonny Brow" in the Leyden MSS., but he makes no mention of the Blaikie
MS., which he quotes so frequently — where it is No. 80, "The bony brow";
No. 94, " In January Last " ; and No. 96, " Lady Binny's Lilt,"— all differing
from one another though derived apparently from the same source. He gives
us also the following narrative : " In 1815, Mr Alexander Campbell was on a
tour on the borders of Scotland for the purpose of collecting Scotch airs ;
he received a traditional version of the air from Mr Thomas Pringle, with
a verse of other words, which Mr. Pringle had heard his mother sing to it-
This was the first stanza of the now celebrated song of Jock o' Hazledean,
which Sir Walter Scott so admirably completed. It was first printed in
Albyn's Anthology (vol. i , 1816, fol.), with the air arranged by Campbell.
ENGLISH CLAIMS.
41
Campbell mistook it for an old border melody." Stenhouse in his Illustra-
tions, under " The Glancing of her Apron," gives an air called " Willie and
Annet," and says, " ' In January Last ' is evidently a florid set of this old
simple tune which has lately been published in Albyn's Anthology under
the new title of ' Jock o' Hazledean.' " There is no mention, however, of
" Willie and Annet " in Campbell's publication, and Stenhouse leaves us in
ignorance where the tune is found with that title. Whether the old
words were Anglo-Scottish or not, they prove nothing in regard to
the tune. It may be stated that whatever was the name or the
nationality of the original melody, " Lady Binny's Lilt " is the nearest
approach of all those mentioned to the now celebrated " Jock o' Hazledean,"
the supposed Border melody. After all, what can be more convincing ; —
the tune, on Chappell's own reasoning, is proved to be of Scottish origin ;
it is found in one of Playford's publications, " New Lessons on the Gittern,"
1652, entitled "Lashley's March." In 1652 Tom D'Urfey was only three
years old.
THE DUSTY MILLEE.
In " The Popular Music," page 608, it is said of " The Dusty Miller":
" This is contained in the first volume of Walsh's Compleat, Country Dancing
Master and in The Lady's Banquet, published by Walsh " (therefore the tune
must be English) ; " also in a manuscript which was recently in the posses-
sion of the late Andrew Blaikie, of Paisley, and there entitled Binny's Jigg."
The fact that Chappell found " Binny's Jigg " in Blaikie's manuscript shows
TBS DTJEI7 MlZiLEB.
Bnnnr'B Jigg.
1692
i)'iiijj r ir| ii L n r jiLiii fr i V rni^i
distinctly that his examination had been very superficial and his translation
of it wrong ; — as may be seen by comparing the tunes. It is questionable
whether " Binny's Jigg," though it contains in the first strain a series of
notes nearly identical with " The Dusty Miller," is really meant for the
same tune. The tablature in the manuscript, is not barred properly, and does
42 EARLY SCOTTISH MELODIES.
not clearly indicate in what measure the melody should be played.
Jig tunes are mostly in f and f measure. It may be stated that we are
not informed from what source the tune given in " The Popular Music "
is taken.
Stenhouse in his notes says that " The Dusty Miller " is found in Mrs
Crockat's Collection, 1709. Mr Frank Kidson gives the date of Walsh's
Compleat Country Dancing Master as 1718.
PEGGY I MUST LOVE THEE.
In his " Popular Music of the Olden Time " (page 609), and under the
heading of " Anglo-Scottish Songs," Chappell, " supplying the names of the
tunes to half a dozen of Eamsay's own songs," gives the name " ' Peggy,
I must love thee ' to the tune of ' The Deel assist the plotting Whigs,'
composed by Purcell," — thereby meaning that " Peggy, I must love thee "
is not a Scots tune ; and, in a footnote to the same page, he states that
'"The Deel assist the plotting Whigs' is the first line of 'The Whigs'
lamentable condition ' ; or, ' The Royalists' Resolution ' : To a pleasant new
tune';" and he continues, " The words and music are contained in 180
Loyal Songs, 1685 and 1694, and the music alone in Musick's Handmaid,
Part II., 1689, as 'a Scotch tune,' composed by Purcell." Now, in his
notes upon airs in " The Scots Musical Museum," Stenhouse maintains
that the Scots tune existed before Purcell was born, and says that
Purcell " might have put a bass to it " ; and although we cannot exactly
contend for all that Stenhouse has stated, we are of opinion that he
is correct in his idea as to Purcell. Chappell concludes that " The Deel
assist the plotting Whigs " in the 180 Loyal Songs, and the Scotch (should
be " New " Scotch) tune with Purcell's name in Musick's Handmaid, are
alike ; whereas the latter is our " Peggy I must love thee " The latter
collection, however, has not the words " composed by," but has a bass part for
the harpsichord, with Purcell's name at the end of it. Of what value,
then, is Chappell's argument for the tune being English, when it is found in
the fifth edition of " Apollo's Banquet " (1687), published by John Playford,
and termed, " A Scotch Tune in fashion " ? There is no indication in that
work, either that it was a new Scots tune, or that it was composed by
Purcell — facts which it is very unlikely Playford would have omitted
to note in " Apollo's Banquet." The same edition of the " Banquet "
contains a number of " Scotch tunes '' without distinctive titles, —
and this may be accounted for, either because of Playford's want
of information as to their names, or by reason of his inability to give the
correct Scots spelling of them. With reference to Chappelfs statement
regarding Allan Ramsay, it is of little moment whether Ramsay wrote
the words of the song, or only published them, for his "Tea Table
ENGLISH CLAIMS.
43
Miscellany" was not published before 1724. The air itself is to be
found in both the Leyden and Blaikie MSS., — named in the former,
" Maggie I must love thee," and in the latter " Yet, Meggie, I must love
thee." The date of the Blaikie MS. is 1692 ; and the version of the air
there given differs somewhat from Playford's (especially in the second
strain), shewing that it had not been copied from Playford. In Margaret
Sinkler's MS. Music Book, 1710 (now in the possession of the writer), the
air is found under the title, " Magie I must love thee," and here also it
differs from Playford in the second strain. See page 12. The tune, " The
Deel assist the plotting Whigs," as contained in 180 Loyal Songs, may
have been a composition of Purcell's, although we doubt it. In any case,
it does not bear the least resemblance to " Peggy [or Maggie], I must love
thee." ChappelTs assertion regarding " The Deel assist the plotting Whigs "
is absurd, — as may be seen from a comparison between the two airs, which
we have reproduced for the study of our readers.
A Scotch Tune in fashion.
^ffp ^iigEg z§pp ^^pat
Apollo's Banquet, 1687.
-^g
Yet Meggie I must Love The.
^p^^ggsgigil^g
Magie I most love thee.
|tl3i§iii||^i^pii§E^|j|
Blaikie MS., 1692.
M. Sinkler, 1710.
|fe|^j|llgl|l
The Deel assist the plotting Whigs.
► 1" - ■ ■ k f
From 180 Loyal Songs.
44 EAELY SCOTTISH MELODIES.
MY NANNY 0.
At page 610, " Popular Music of the Olden Time," Chappell asserts that
this tune is English : " ' Nanny 0/ to the tune of the English ballad of
Nanny 0." His total evidence in support of the claim is contained in a
footnote, — " This ballad and the answer to it are in the Eoxburghe Collec-
tion. The first (ii. 415) is The Scotch Wooing of "Willy and Nanny : To a
pleasant new tune, or Nanny 0, Printed by P. Broooksby. Although
entitled ' The Scotch Wooing,' it relates to the most southern part of
Northumberland. It commences, ' As I went forth one morning fair,' and
has for its burden —
' It is Nanny, Nanny, Nanny 0,
The love I bear to Nanny 0,
All the world shall never know
The love I bear to Nanny 0. '
Tynemouth Castle is spelled ' Tinmouth ' in the ballad, just as it is now
pronounced in the North of England ; it is therefore, probably, of North-
umbrian origin." G. F. Graham says that " It is one of the best of our
Scottish melodies," an opinion which we cordially endorse. The entire
evidence in support of the English claim is, that it was " Printed by P.
Brooksby," who spelt " Tinmouth " for Tynemouth. We are not furnished,
however, with any date, nor any proof that he was the same Brooksby (of
April 1677) mentioned at p. 541 " Popular Music " ; and no doubt he was,
as an Englishman, unaware that there was a Tyne and a Tynemouth in the
county of Haddington in Scotland. The mis-spelt word is of little or no
account ; and the burden of the song indicates no locality whatever, —
which might as well be the Antipodes. The title given from the Eoxburghe
Collection makes no mention of the English ballad tune of " Nanny 0," but
merely of a pleasant new tune, or Nanny 0. The or probably refers to
" Nanny " as an alternative tune. Had the melody of " Nanny " been
printed with " The Scotch Wooing of Willy and Nanny," Chappell would
not have failed to mention it. He ought to have given his English version
of the air, and to have stated from what source he had derived it. The
melody is contained in the " Orpheus Caledonius," 1725, and in the
" Musick for the Scots Songs " in the " Tea-Table Miscellany." Eamsay's
song, which was published in 1720, was probably written a year or two before
that date.
BONNIE DUNDEE.
" Popular Music," page 611. This melody is considered by Chappell to
be English, or at least a spurious Scottish one; an opinion calculated
to strengthen his efforts to reduce the age of the Skene Manu-
scripts. The ground he takes for his assertion is, " that before
ENGLISH CLAIMS.
45
the publication of Kamsay's ' Tea-Table Miscellany,' the ' Scotch tunes '
that were popular in England were mostly spurious, and the words
adapted to them seem to have been invariably so." " Bonnie Dundee "
is assumed to be one of these tunes, on account of (1) its first appear-
ance in printed form occurring in the Second Appendix, 1688, to the
" Dancing Master," 7th edition, 1686 ; and (2) because of some absurd and
indelicate verses which had been written to the tune by some Grub Street
scribbler, and inserted in D'Urfey's " Pills to purge Melancholy." These
arguments are not sufficiently strong, however, either to upset the Scottish
nationality of the air, or to disprove its existence in manuscript before
1688. The popularity of the tune in England may be due to the
residence in Scotland of James II. when Duke of York, which ended in
1682. Several years previous to the publication of the tune in Playford's
"Dancing Master," or of the verses in D'Urfey's "Pills to purge
ADIW DUSDIB.
Skene MS.
tWtmJr i r \ d! mm
e j^
Bonnie Dundee
yilj)l^ l J l l l ^ MffN' l r jI f J.|jflJ.i3W r l fJr c rri^ ^
Melancholy," the melody may have been carried south by some of James's
courtiers. It must at least be admitted that manuscript copies of tunes
usually precede printed ones. This applies especially to the earliest
tunes, whether the tunes are in the form of tablature or in modern
music notation. After such tunes were first printed they would certainly
be multiplied in the various works published from time to time. It cannot
be affirmed that the copy of the tune " Bonnie Dundee " in the
Skene Manuscripts was drawn either from " The Dancing Master " or from
" The Pills to purge Melancholy," nor was the title " Adew Dundie " in the
Skene Manuscripts taken from the last line of the song as printed in
46 EAELY SCOTTISH MELODIES.
D'Urfey— which runs, " And so bid adieu to bonny Dundee." The air in its
modern form is now sung to Macniel's song, " Mary of Castlecary."
THE BONNY GEEY EY'D MOEN.
In " Popular Music of the Olden Time," page 610, we find " We have no
hesitation in saying that this tune is decidedly English, and has no Scottish
character whatever. Though it appeared in Johnson's "Scots Musical
Museum," volume i;, it was not that publisher's intention to palm it off as
a Scottish air. "We have already referred to that volume. Stenhouse in
his note on the song states, " Oswald, in his collection of Scottish Tunes,
calls it, by way of distinction, ' The Old Gray-ey'd morning.' It appeared
as such in the seventh book of ' The Caledonian Pocket Companion,' but
Oswald has given a different version of the tune, in § measure, entitled,
The Gray Ey'd morning, in the second book of that collection." Chappell
calls it a composition of Jeremiah Clarke, and says that it was sung in
D'Urfey's Comedy of " The Fond Husband, or The Plotting Sisters," 1676,
We may question Stenhouse's view as to the nationality of the melody, but
we consider that he had good reason to doubt whether the melody was the
composition of Jeremiah Clarke, because there is much uncertainty about
the date of his birth. Clarke, according to " Grove's Dictionary," as well
as " Brown and Stratton's," would be only six or seven years old when
" The Pond Husband," etc., was produced. The presumption therefore is
that " The Old Gray-Ey'd morning " must be the original air, but we admit
we have not seen a copy of the tune in " The Fond Husband," 1676, to
determine which of the versions is the earlier, or whether Clarke made a
claim to any of them. The air appears in " The Beggars' Opera," but that
production was subsequent to Eamsay's Gentle Shepherd.
KATHEEINE OGGIE.
In " Popular Music," page 616, this is classed by Chappell as an
Anglo-Scottish air, by which he means the tune to be an English imitation
of the Scots style, or an English production to which a Scots song has been
written. We have already referred to his claim in the " Glen Collection
of Scottish Dance Music," Book I. He begins with an attack on Stenhouse's
" fictions," as he termed that gentleman's " Illustrations " and accuses
him of misleading Mr Dauney. In support of his contention, Chappell
quotes from Stenhouse : — " This fine old Scottish song, beginning,
' As I went furth to view the plain,' was introduced, and sung
by Mr John Abell, a gentleman of the Chapel-Eoyal, at his concert in
Stationer's-hall, London, in the year 1680, with great applause. It was
printed, with the music and words, by an engraver of the name of Cross,
ENGLISH CLAIMS. 47
as a single sheet song, in the course of that year, a copy of which is now
lying before me." To refute this story Chappell says, " In the first place,
Cross did not engrave in 1680, and the single-sheet song Bonny Kathern
Oggy, as it was sung by Mr Abell at his consort in Stationers' Hall, bears no
date." He goes on: "Stenhouse, to make his story complete, tells us
that Abell died ' about the year 1702/ although Hawkins (from whom he
was copying so much of the story as suited his purpose) says that, about
the latter end of Queen Anne's reign, Abell was at Cambridge with his
lute." Now, though Chappell asserts that Cross did not engrave in 1680,
he produces no evidence to that effect, and it may be that the single-sheet
song which bears no date was one which he had seen in " A Collection of
original Scotch Songs with a thorough Bass to each Song, for the Harpsi-
chord etc.," published by J. Walsh circa 1740.* This collection consists
e ntirely of half sheet songs, some of which are much older than others, if
we may judge from the style of engraving, and among the earliest
is No. 56, " Bonny Kathern Oggy, as it was sung by Mr Abell at his
Consort in Stationers Hall." This tune is followed in the same collection,
and to the same melody, No. 69, by " Bonny Kathern Loggy " in a later
style of engraving. Might it not be the case that Walsh erased both
Cross's name and the date, and that Stenhouse had seen a copy with both ?
Again, though Chappell concludes his arguments by giving the first stanza
of what Stenhouse terms the " fine old Scottish song " sung by Abell, he
misquotes both words and spelling, as may be seen by reference to
the Illustrations. As to Abell's death, we have only, " about the year
1702," and Hawkins has also " about the latter end of Queen Anne's reign."
In both cases there is nothing beyond surmise ; but further, it may be said
that Stenhouse's notes were not printed during his lifetime, and 1702 may
be a printer's error. Chappell also remarks of Stenhouse, " Now, why all
this invention ? It was to get rid of the fact that the earliest known copy
of the tune is in the Appendix to The Dancing Master of 1686 (why does he
omit the date of the Appendix — 1688 ?) under the title of ' Lady Catherine
Ogle, a new Dance.' " He goes on : " D'Urfey wrote the first song to it,
' Bonny Kathern Loggy.' " We can now supply the information that
"Lady Catherine Ogle, — a new Dance," appears in "Apollo's Banquet,"
1687, and the tune is singularly enough repeated in the second part of that
work under the title of "A Scotch Tune," No. 64, without any dis-
tinctive name, and evidently more Scottish, by the first bar descending to
the minor seventh, the page on which it appears having a footnote
stating, " These Scotch Tunes were omitted in the First Part of this Book,
and are to follow 121." This second part, which is not an Appendix,
contains the usual tunes of the French dances. As to whether D'Urfey
wrote the first song or not, we have no proof, nor are we supplied with any
date. The air "Katherine Ogie" is found in the Leyden Manuscript,
* A copy of which is in the possession of Mr Frank Kidson, Leeds.
48
EARLY SCOTTISH MELODIES.
though it is not the exact version given by Playford. The argument
on which Chappell's claim rests is decidedly against his own con-
tention. His authority, John Playford, calls it "a new Dance," which
it probably was, though Playford does not affirm that it was a new
tune, but that it was "A Scotch Tune." In Wood's "Songs of
Scotland," 1st ed., G. F. Graham does n,ot express his opinion on
the nationality of the air, but merely says, " The air appears as
Scottish in D'Urfey's Pills, and various subsequent publications." J.
M. Wood, in "The Popular Songs and Melodies of Scotland," 1887,
states, " I believe the air to be Scottish chiefly from internal evidence,
but partly from the facts mentioned above." In this latter statement
we fully concur.
Lady Cathibinb Ogle, b new Dance. _ 1687.
A Sootob Teh* ^ 1687.
W 3? iS af fi^ JiU ^ifJJ-J i fJf { ittIrc aP P
Wia'ffi firfc!rr t .fl C r jj
£=pp
jf't Afr e et m
■0-*-A4-
Kathkkiss Ogh.
yr.ji J jj.jyajj3i r {flnijjj]ijjiJi f J3joi[t f[ fflj7im
m W m ^ vW- W-i
w^m^ww^iv^wm
FIFE AND A' THE LANDS ABOUT IT.
The tune is called " Fairest Jenny " in " The Popular Music," page 617.
Chappell says, " This is included in Scotch collections under the name of
Fife and a' the lands about it. It was first printed in the Gentleman's
Journal, of Jan. 1691-2, under the title of Jockey and Jenny, a Scotch
song set by Mr Akeroyde." In this instance we admit that Chappell has
discovered a spurious composition ; at the same time it is doubtful if he
ENGLISH CLAIMS. 49
could have said it was claimed by any Scottish musician as a Scottish pro-
duction. It may be mentioned that the earliest Scots collections in which
it appears are those of Oswald, 1740, and of "William M'Gibbon, Second
Collection, 1746 ; and we suspect that the reason why it was included in
those collections is, that it had become popular about that time. On no
other grounds can we account for its admission into any Scottish
publication : though Stenhouse, in his Illustrations to " The Scots Musical
Museum," contends that the air is Scottish, because " This tune appears in
the old Virginal Book already mentioned in the editor's possession, under
the title of ' Let Jamie's Lad allane,' which was probably the original title,"
and adds, "Mr Samuel Akeroyde put a bass to it," only. Still the "Virginal
Book " may not have been confined entirely to Scottish tunes, and its age
also may have been over-estimated. The melody has no pronounced Scot-
tish character, and we frankly hand over both words and tune to the
keeping of Akeroyde's countrymen.
MAGGIE LAUDER, AND LOGAN WATER.
In " Popular Music," pp. 619-20, footnote b, — there is evidently a
claim on behalf of England for those two tunes. Chappell says in reference
to ' Corn Riggs,' " This is one of Stenhouse's favorite remedies for deficient
evidence of antiquity. He produces some 'original words,' stating them
to be of the age required to meet the necessities of the case, but they
rarely tally with information derived from other sources. Francis Semple
of Beltrees, is one of his favorite scapegoats in these cases. He gives
him the credit, among other songs, of Maggie Lauder. Now, in the
ballad opera of the Beggars' Wedding, 2nd edit., 8vo, 1729, it is called
' Moggy Lawther on a day,' which does not at all agree with the song of
which Francis Semple is the supposed author." But, the Beggars'
Wedding, 2nd edit., has no music, and Chappell makes no reference to
the Quaker's Opera, 1728 (though he quotes the latter in his note on " The
Spanish Lady "), in which the tune appears simply as " Moggy Lawther."
" Again, as to ' Logan Water ' in Flora, 8vo., 1729,* it is named ' The Logan
Water is so deep,' which is not at all like the words that Stenhouse
gives. It would be easy to multiply instances of this kind." The fact
that the titles do not agree with those of the "Beggars' Wedding" in
the one instance, and of " Flora " in the other, is in no way conclusive.
Chappell himself has given us many examples of tunes having different
and altered titles. It may be remarked that he had no knowledge
of any earlier edition of Craig's Collection than that of 1730, which
certainly shews that "Moggy Lawther" is not older than "Maggie
Lauder," but only an Anglo-Scottish name. A copy of an earlier edition of
* The date of 1732 is given to the Opera of "Flora " in the Theatrical Dictionary of
1792, but Chappell omits to note that it appeared in the "Village Opera," 1729.
D
50 EAELY SCOTTISH MELODIES.
Craig is in our possession. The title is as follows : " A Collection] [of the
Choicest of the] [Scots Tunes] [Adapted for the Harpsicord or Spinnet]
[and within the Compass of the Voice] [Violin or German Flute] [By-
Adam Craig] Edinburgh E. Cooper fecit." The title differs from that
of 1730 by the erasure of the words " of the" between "Choicest " and " Scots,"
and by the absence of any date, nor is the engraving of the work the same,
nor the accompaniments alike. As to "Logan Water," Chappell's claim
rests entirely on the disagreement of titles, and he quite ignores the refer-
ence to Mrs Crockat's Manuscript Book, 1709, in which Stenhouse declares
the tune is to be found. Chappell probably founded his remarks on Sten-
house's error in quoting the " Orpheus Caledonius," 1725, while the tune,
to the words of James Thomson's " For ever, Fortune, wilt thou prove,"
is in the second volume, 1733. To our astonishment, Chappell's statement
concerning " Logan Water " has escaped observation by George Farquhar
Graham and John Muir Wood. The former has simply mentioned that, "The
Melody is of considerable antiquity, pathetic, and Scottish in its character,"
and has contented himself with pointing out in the second strain that the
un-vocal leap from Fjl to FJ in the octave, as given in some modern publica-
tions, is wrong. The latter gentleman has only repeated Graham's note.
We may state that both have overlooked the fact that Logan Water is
contained in " Musick for Allan Bamsays collection of Scots Songs ;
Set by Alexander Stuart, and engraved by B. Cooper Vol. 1. Edinburgh •
printed and sold by Allan Eamsay," page 56. The tune is also mentioned in
"The Tea-Table Miscellany," 1724, where Eamsay directs a song, beginning,
" Tell me, Hamilla, tell me why," to be sung to " Logan Water." Surely
these facts dispose of Chappell's contention regarding the melodies.
COEN BIGGS.
In " Popular Music of the Olden Time," pp. 618-620, we have this tune
claimed for England by Chappell, under the title of " Sawney was Tall and
of Noble Bace " ; and he informs us that "This is one of Tom D'Urfey's
songs, in his comedy of The Virtuous Wife, 4to, 1680. I have not seen
any copy bearing the name of a composer ; but, as other music in this play
(such as ' Let traitors plot on,' and the chorus, ' Let Caesar live long ')
was composed by Farmer, this may also be reasonably attributed to him."
Why all this beating about the bush, when there is no music whatever
printed in D'Urfey's comedy, and no mention made of Farmer ? Can it be
said, because Shield wrote some airs for the opera of "Bosina," that
all of them are his compositions? In D'Urfey's comedy there is what
he calls " A Scotch Song," beginning, " Sawney was tall, and of Noble
Bace," but no tune whatever is indicated. The tune is given, however,
in Playford's " Choice Ayres," vol. iii., page 9, along with D'Urfey's
words, as "A Northern Song," without the name of any composer.
ENGLISH CLAIMS.
51
Chappell again states, " Playford also printed in the fourth book of the
same collection ' She rose and let me in,' as a ' Northern Song,' although
the music was undoubtedly by Farmer." We have already taken excep-
tion to this statement ; and Chappell's allusion to Playford strengthens our
argument, as there is not the least resemblance between the airs to
support the contention that both tunes are by the same composer. Allan
Eamsay is credited with the appellation of " Corn riggs are bonny," and
we are told that Craig certainly took the titles of the tunes in his collection
from " The Tea-Table Miscellany." Chappell also tells us, that of the 35
tunes in Craig's Collection, the names of 29 were taken from Eamsay's
work. He does not prove, however, that they were known by earlier names,
nor that the original name of the air " Corn Eigs '' was, " Sawney was tall
and of Noble Eace ;" nor did he find the two following tunes, " Sae merry
as we have been," and "Bessie's Haggis," mentioned in the "Tea-Table
Miscellany " prior to 1730 ; nor that six others of the 29 bore the names
of Eamsay's songs. Chappell further says, " Stenhouse would have us
believe that there was a much older Scottish song of ' Corn Eigs ' to this
tune than Eamsay's." We believe that Stenhouse is right, from the fact
that an entirely different tune in the Blaikie Manuscript is called " New
Cornriges," No. 104. We do not say that Chappell purposely withheld
any reference to this tune, although he assures us that he made a careful
examination of Blaikie's Manuscript, 1692, without discovering any date
within it. See page 772 " Popular Music." Adam Craig, in the dedication
to his Collection, says, " The Tunes are the native and genuine products of
the country." We do not deny that the tune of " Com Eiggs " has some-
what of an English character, but, was it impossible that a Scottish musician
could imitate the English style, while English musicians are allowed
to have made good imitations of Scottish music ? Chappell has entirely
failed to prove that Thomas Farmer composed the tune of " Corn riggs are
bonny."
Sawnest was tall.
Sawney (inverted notes).
. 1687.
ff f iitHir) i igfiffii^)ii %fl;ti i iWflf liftt l
52 EAELY SCOTTISH MELODIES.
LOVELY NANCY.
In his " Popular Music," page 715, Chappell says, " This is one of the
songs contained in the folio edition of The Jovial Crew (which has the
basses to the airs) but not in the octavo." This air, however, does not
occur in " The Jovial Crew " before the revival of that opera in February
1760, and the tune given to the song, " Can nothing, Sir, move you,'' in the
edition of 1731, is a totally different one, entitled, "As down in a
meadow." Chappell in the appendix to his work, p. 787, remarks, "I
observe that in Book 2. of Oswald's Caledonian Pocket Companion, the
tune is printed as ' Lovely Nancy ' by Mr Oswald. I have no doubt that
he meant to claim the variations only, for he had previously printed the
air, with some difference in arrangement, in his Curious Scots Tunes for a
Violin and Flute, and then without making any claim." He further states,
" I have seen many half-sheet copies of the Song of ' Lovely Nancy ' but
never with an author's name, and I doubt whether any one could properly
claim it, for it seems to be only an alteration of ' Ye virgins so pretty ;
(ante, p. 682)." The tune of " Lovely Nancy " with variations occurs in
Oswald's " Collection of Curious Scots Tunes for a Violin, German Flute or
Harpsichord," 1742, and we believe it to be his composition, though his
name was not attached to it till it appeared in the second book of the
" Caledonian Pocket Companion." This, however, is no proof that the tune
and variations were not his composition. The sole difference in the two
works is the order in which the variations occur, — in the " Curious Scots
Tunes," variations 1-2-3-4-5-6-7-8 being respectively 5-6-1-2-7-8-3-4 in
" The Caledonian Pocket Companion." Oswald's " Collection of Curious
Scots Tunes " and the first and second books of his " Caledonian Pocket
Companion," were the property of John Simpson, the original publisher,
and we believe that Oswald purchased the latter collection, which he
continued to publish till it was completed in twelve books or parts.
In the first volume of " Calliope, or English Harmony," 1739, page 176,
published by J. Simpson, there is a song called " Strephon's Complaint,"
beginning " How can you, Lovely Nancy," and the air is " Lovely Nancy,"
but we think the tune had been contributed to that collection by Oswald
before he left Edinburgh. Again, in the second volume of " Calliope,
or English Harmony," page 36, there is another song entitled " Lovely
Nancy," commencing, "There never was, nor e'er shall be," printed
to an air that might be the true English melody, although it does
not bear the least resemblance to that of Oswald. The many half-
sheets observed by Chappell without a composer's name are no evidence
whatever, and by giving our readers " Ye virgins so pretty,"* along with
Oswald's " Lovely Nancy," they will be able to judge whether the latter is
* The air is called " Over hills and high mountains."
ENGLISH CLAIMS.
53
an alteration of the former. Chappell in his footnote, page 787, referring
to Oswald's Collection of " Curious Scotch Tunes," says, " It is difficult to
know why the tune should have been included in a collection of Scotch
tunes, but no one will be surprised who examines the remainder of the
selection. It was not the fashion of that day to attempt accuracy in the
slightest degree," — a remark which applies to English as forcibly as to Scot-
tish Collections. In " Calliope, or English Harmony," the first song and air
it contains is the Scottish " Bush aboon Traquair." Chappell deprecates
the inclusion of English tunes in Scottish Collections, but gives no reason
why the "Bush aboon Traquair" should be the initial song in an
English Collection. Had he examined the remainder' of that work,
he would have found in it a considerable number of other Scots tunes,
and would doubtless have been surprised to find himself in such an
awkward dilemma.
Lovslt Nancy.
yfjiii^pjfli | f c^. ni^|jj^n)jtfi f j|^ ^i
OVER TTTT.TS AND HIGH MOUNTAINS.
^\(^ a \^p ^i^ii^ \ :^Am
mffif tflfCrjlJtflf^flfJJl^lJ i
m
Lovely Nancy.
ft & «"N
f\
l> fr**
T-f
i-ft /s ^
Vattiopc
tota
§ -ff r ]
J-
t&i
isf!
fe
pa
fas
5=j=*
f~l
-yr
f=>—
-4
*~
~ r fT
/f
#■
m m
}
Hri
bM^
.— v.
+Ll
U:
VI-
^fi
bl \k
•
I MADE LOVE TO KATE.
Under the above title, in " The Popular Music of the 01den"_Time, pp.
723-4, is a version of the Scottish tune " Woo'd and Married and a'." We
are told that the song " I made love to Kate " was sung by Mr Beard at
Kanelagh (?) and introduced by him into the ballad opera of " The Jovial
Crew," when it was revived at Covent Garden Theatre, February 1760.
" Woo'd and married and a'," which differs, however, from the version of
Mr Beard, was published in Robert Bremner's " Collection of Scots Reels
54
EAELY SCOTTISH MELODIES.
or Country Dances," seventh number, 1759. It appeared also in Oswald's
" Caledonian Pocket Companion," Book x., which is probably earlier than
Bremner's Beels, and it is included in Walsh's " Country Dances Selected,"
n.d., under its Scottish name. If the original words of the song " Woo'd
and Married and a' " were from the pen of Alexander Eoss, the author
of " The Fortunate Shepherdess," they must have been written several
years prior to 1768, the title of the tune being suggestive of some song of
an earlier date.
wood Air Mahried ah' a. 1759.
^i{Hf r ;jJj.lffcf f ff l gpffl%c f fflHtpfC% ^
I MADE LOVE TO KATE.
ipl
JrWjMWr^
1760.
\— f-
in
l^n
IZlttj.
gf^fiigf%J]j;cig l
te \fftrf U *
m
tt it.
FfJ^Wt
C£t
• ' J M t
PETTICOAT LOOSE.
At page 724, " Popular Music of the Olden Time," Chappell gives
the above tune, which he characterises as " A favorite old Country dance."
He further states, " It is included in Peter Thompson's Collection (1753),
in that of Charles and Samuel Thompson (1765), and of Samuel, Ann, and
Peter Thompson (1790). Also in Eutherford's and several others."
The tune is contained in Walsh's " Caledonian Country Dances," volume
ii, part i, page 51, entitled " Petticoat Loose," or " Curickle," and though
the volume is undated, we know that it was published about 1748, which
is some years earlier than that of Peter Thompson. Walsh's version of the
tune is better and more Scottish in character than that given by Chappell,
which we presume he has taken from Thompson. The tune has long been
known as a Scottish Jig.
SAW YOU MY FATHEE ?
We are informed in " Popular Music of the Olden Time," page 731,
" This song is printed on broadsides, with the tune, and in Vocal Music or
the Songster's Companion, vol. ii, 36, 2nd Edition, 1772. This collection was
ENGLISH CLAIMS. 55
printed by Eobert Horsfield in Ludgate Street, and probably the words
and music will be found in the first edition, which I have not seen. Herd
included a Scottified version of the words in his Ancient and Modern Scottish
Songs, 2d edition, 1776, and he has since been copied by others. James
Hook (the author of The Lass of Kichmond Hill, and many other charming
songs) composed variations to the air, if not the air itself. It is much in
his style of composition." "Without further quoting Chappell, we may
state that Neil Stewart, Edinburgh, published in his " Collection of Scots
Songs," February 1772, both words and music, omitting the second, third,
and fifth verses, given by Herd. He could not have been indebted to Herd
for the words, unless they had been included in the first edition of his songs,
1769. If it cannot be proved from an earlier edition of " Vocal Music "
than 1772, it is evident that the song was Anglified rather than Scottified.
If the English claim be substantiated, the tune had taken root in Scotland
with wondrous rapidity.
In Stenhouse's " Illustrations to Johnson's Scots Musical Museum,"
page 23, he says, " Eobert Horsfield's Vocal Music, or the Songster's
Companion, 2 vols., first edition, 1770." We are able to prove there was no
second volume published in that year.
Chappell's evidence in support of the English parentage of " Saw you
my father ? " cannot therefore be sustained.
YE BANKS AND BEAES 0' BONNY DOON.
Chappell's allusion to this tune in " The Popular Music of the Olden
Time," vol ii., page 794, is as follows : " Although Burns thought the tune
of ' Ye banks and braes o' bonny Doon ' to have been made by an amateur,
in trying over the black keys of the pianoforte, with the aid of Stephen
Clarke, the English editor of Johnson's Scots Musical Museum, it is clear
that nothing more was effected than the alteration of a note or two, and
the transposition of the symphony of an older song. The following
(named, " Lost is my quiet ") was printed upon half -sheets, and was
included in Dale's Collection of English Songs (i. 157). Dale commenced
printing in 1780, but I cannot give the date of this publication, because,
the collection consisting exclusively of old songs, he made no entry at
Stationers' Hall, as in other cases. It is unquestionably anterior to ' Ye
banks and braes o' bonny Doon.' " Chappell, however, does not explain
how Dale's " Collection of Scots Songs," which are all old, was entered at
Stationers' Hall in 1794. If the English Collection was not entered,
Chappell's assertion does not prove the age of either Dale's English
Collection or " Lost is my quiet." Eeferring to Burns's account
of the music, Chappell says "the poet considered it to be the joint
production of an amateur and Stephen Clarke"; but he does not quote
56 EAKLY SCOTTISH MELODIES.
the letter of Burns to George Thomson, dated November 1794 : — " Do you
know the history of the air ? It is curious enough. A good many years
ago, Mr James Miller, writer in your good town {i.e. Edinburgh), a gentle-
man whom, possibly, you know, — was in company with our friend Clarke ;
and talking of Scotch music, Miller expressed an ardent ambition to be
able to compose a Scots air. Mr Clarke, partly by way of joke, told him
to keep to the black keys of the harpsichord, and preserve some kind of
rhythm, and he would infallibly compose a Scots air. Certain it is that,
in a few days, Mr Miller produced the rudiments of an air which Mr
Clarke, with some touches and corrections, fashioned into the tune in
question. Eitson, you know, has the same story of the black keys ; but
this account which I have just given you, Mr Clarke informed me of
several years ago."
The tune thus referred to by the poet, — the true original of " Ye Banks
and Braes," — was first published under the title of "The Caledonian
Hunt's Delight" (the name given to Miller's tune) in Gow's Second
Collection, issued in the year 1788, which was six years before Burns
related his story to George Thomson. May the " good many years ago "
not go back to ten, — Clarke was an organist in Edinburgh from 1774 ? Is
it not more likely that " Lost is my quiet " is a poor adaptation, and nothing
else ? See the clumsy way in which the words suit the melody in the 9th,
10th, and 11th bars in Chappell's " Popular Music of the Olden Times,"
or in Wood's "Popular Songs and Melodies of Scotland," 1887. In
further support of our view, that " Lost is my quiet " is of later date than
" The Caledonian Hunt's Delight," we have obtained the following in-
formation. Dale's " Collection of English Songs " is a folio, and consists
of 20 books, of 12 songs each, comprising 320 pages in all. These songs
were published in separate sheets at 6d. each, and their titles are dis-
played in large characters, with Dale's name and address added. Book
X contains the song and tune " Lost is my quiet," but the title, whatever
it had been, bears evidence of having been erased from the engraved
plate, the only words heading the song being with an accompaniment
(Dale's Collection, pp iii & 157). The Collection embraces tunes from
various ballad operas, such as "The Farmer," 1787; "The Haunted
Tower," 1789; "The Siege of Belgrade," 1791, and others, which prove
that its contents were not exclusively old songs ; and on some of the pages
of the book water-marks of 1806 and 1808 are to be found, shewing that
a portion at least of the collection was evidently not published earlier than
those years. Another proof is that throughout the English Collection,
Dale's address, No. 151 New Bond Street, is given, although he did not
occupy these premises prior to 1800.* The stories given by Burns regarding
the tune, such as, — "An Irish gentleman affirming he had heard it in
Ireland among the old women; while on the other hand, a Countess
* For the information regarding Dale's Collection of English Songs, we are indebted to
Mr Frank Kidson, Leeds. -
ENGLISH CLAIMS. 57
informed me that the first person who introduced the air into this country
was a baronet's lady of her acquaintance, who took down the notes from an
itinerant piper in the Isle of Man," amount only to assertions, hearsay
evidence — not facts : at the same time it is right to state that " The Cale-
donian Hunt's Delight " had " Irish " affixed to it by James Aird, Glasgow,
in the fourth volume of his "Selection of Scotch, English, Irish and
Foreign Airs."
GIN A BODY MEET A BODY.
In " The Popular Music of the Olden Time," page 795, Chappell says,
I have no intention of analyzing the collections of Scottish Music; yet,
having in a few cases reclaimed tunes that many have supposed to be
Scotch, owing to their having been included in these publications, it
becomes incumbent upon me to shew that popularity only was considered
by the collectors, without any care for accuracy." He also repeats that
Johnson palmed upon his countrymen as Scotch the compositions of Hook,
Berg, Battishill, and other living musicians, and that " Thomson in his
Orpheus Oaledonius did nearly the same." As we have already answered
this general accusation, let us take up what he affirms concerning " Gin a
body meet a body." He says, " There was a popular song which had been
sung in a London pantomime : —
" If a body meet a body going to the Fair,
If a body kiss a body need a body care ? "
This was altered for the Museum into —
Gin a body meet a body comin' thro the rye,
Gin a body kiss a body, need a body cry ?
The pantomime came out at Christmas 1795-6, and the alteration seems
to have been made within about nine months of the publication; for
Broderip and Wilkinson's entry of the original song at Stationers' Hall
was on the 29th June, 1796." Again, he states in a footnote, " The entry
at Stationers' Hall is as follows — ' If a body meet a body,' sung by Mrs
Henley at the Boyal Circus in the favorite new Pantomime called Harlequin
Mariner, the music adapted by J. Sanderson, the words by Mr Cross."
Regarding Chappell's " no intention of analyzing," etc., and his would be
exposure of others, we shall pass over what we have already said of John-
son's " Scots Musical Museum," and shall simply give such information as
will shew that the fault-finder has himself erred. John Watlen, music
seller, Edinburgh, published " Gin a body meet a body," with the most ap-
proved version of the air, in his collection of " Old Scots Songs," the first
and second numbers of which collection were issued in August 1793, and
the subsequent ones at intervals of two months each. The song in question
therefore, which appeared in the eighth number, must have been published
in August 1794.
58
EAELY SCOTTISH MELODIES.
In concluding this chapter we shall make a few observations on a per-
plexing subject, and state an example or two, in order to fix the meaning of
the word or in such instances as, " To a new Northern tune, or In January
last"; and "Northern Nanny, or The Loving Lasses Lamentation." The
question comes to be, Does the or mean an alternative tune, or is it a
another name by which the tune is known ? In the following case, Locke's
" My lodging it is on the cold ground " is called in the " Dancing Master "
" On the cold ground," and in Apollo's Banquet " I prithee Love turn .
[to] me," although the tune is one and the same ; while " Come, boys fill us a
bumper," or " My lodging is on the cold ground," are two distinct tunes.
Chappell claims the modern version of "My lodging is on the cold
ground " as an English air, on the strength of its first appearance in
print in "Vocal Music, or the Songster's Companion," 1775, but that
collection does not pretend to be one of English songs and music exclus-
ively, or to be confined to any particular nationality. See also page 148.
Another instance is " Greenwich Park, or Come Sweet Lass," two names
for the same tune. When tunes having the same or similar names, but
bearing no resemblance to each other, are referred to, a more distracting
difficulty arises in ascertaining which tune is meant, so that its nationality
can be determined from internal evidence or structure.
The first example shewing the same air under different names, is " The
Duke of Albany," called also " My Lord Aboyne's Air " or " Cumbernauld
House." The latter version is musically correct, but "The Duke of Albany"
is wrong, as is shown in the the three notes under the asterisks.
Tee Dots o? Albaits.
1687.
^HJijjJrifJ'jjij^iijJfirfJiJfJ'j.jij ,i i. i .»Ji
ENGLISH CLAIMS.
59
The following are different tunes under the same titles, the first
English, and the second Scottish :
.Woman's work is never done.
^t^mtM^m-m^ 1 ^^
Woman's woks will never be done. 1692.
<\kj j j. J- i-njTj j JijJ^ifft j.;ijj].J'ijqj.;i% ri[rr r j i
^ftifrffr i frrrrittfrrg i fcrfc i ^^ffi^ i ^j i
The latter or Scots tune is also called " The Black Eagle," and " The
Bonny Black Eagle."
We also give the tune of " The Spanish Lady," which Chappell
apparently discovered in the Skene Manuscript, along with another copy
furnished by himself, merely to shew the transmutation it has undergone
in the course of a century. Many persons believe that it is not the same
air. Scotland does not assert any claim to the tune.
The Spanishe Ladib.
Skene MS.
ThbSpah
ISH L
iDY.
1728.
ffJ- J J
El
*H
QE4
CHAPTER VI.
THE SCOTS MUSICAL MUSEUM.
Before proceeding to treat of the airs in this chapter, we desire to
draw the attention of the reader to the publisher's original intention,
already mentioned on pages 16, 17. Johnson's proposal was to publish
" A New and Complete Collection of Scots, English, and Irish Songs for
the Voice," &c. When this work was in progress, Eobert Burns became
acquainted with James Johnson, and induced him to abandon his original
purpose, though he was far advanced with his matter, and to change the
title to The Scots Musical Museum. We cannot imagine Johnson casting
aside entirely all that he had prepared, so, we are not in the least
surprised that the first two volumes of the " Museum " contain a
number of songs and tunes which are not Scottish productions. This
may be gathered from the date of the bard's first letter to Mr Candlish,
subsequent to the issue of the first volume of the " Scots Musical
Museum," in which the name of Burns is attached to one song only,
" Green grows the Bashes." We accordingly omit in our notes the follow-
ing songs in the first volume, being quite convinced that Scotland has . no
claim either to the words or music of : " The Banks of the Tweed " ; " Jamie
Gay " ; " My dear Jockey " ; " The Happy Marriage " ; " Blyth Jockey " ;
" Leander on the Bay " ; " He stole my tender heart away " ; " Blyth
Jocky young and gay " ; " May-eve, or Kate of Aberdeen " ; " Water
parted from the Sea " ; and " Johnny and Mary." We have, however,
noticed Nos. 7, 32, 48, 79, and 84, which are erroneously supposed to be
Scottish airs ; and we dispute the English claims to numbers 3, 42, 69, 76,
83, 88, 93, 98, and 99.
VOLUME I.
1. THE HIGHLAND QUEEN.
The words and music of this Song, we are told by Johnson, were by a
Mr M'Vicar, once of the Solby man-of-war, which statement is repeated by
Stenhouse, who adds; " It was originally published as a half-sheet song, and
THE SCOTS MUSICAL MUSEUM. 61
Oswald afterwards inserted the music in his Caledonian Pocket Companion,
book xi., in 1750." The date of Oswald's book xi. is wrong, it was pro-
bably not issued till 1759. We have never seen a half-sheet copy. David
Herd included the words in his Scottish Songs, vol. i., 1776.
2. AN THOU WEEE MY AIN THING.
The melody of this song is one of seven tunes which William Thomson
in his Orpheus Caledonius, 1725, attributed to David Eizzio. That the
air, whatever age it may be, was Eizzio's composition, there is no evidence,
nor is it likely to be discovered. William Tytler of Wooodhouselee was
of opinion that it was composed between the Eestoration and the Union.
That it is a tune of some antiquity, is proved from the fact that an early
version of the melody is contained in the Straloch Manuscript, entitled,
" An thou wer myn own thing." Eamsay gives the song in his Tea-
Table Miscellany, 1724, but he omits the first verse found in Thomson
and in the Museum. The letter X annexed to it by Eamsay signifies only
that the author is unknown. He, however, added six other verses to it,
and the tune was published in the " Musick for the Songs in the Tea-Table
Miscellany."
3. PEGGY I MUST LOVE THEE.
See English Claims, page 42.
4. BESS THE GAWKIE.
The air belonging to this song we believe to be no older than the words.
It is not found printed in any collection we know of before the publica-
tion of the "Scots Musical Museum." The song is published by Herd
in his collection in 1776.
5. LOED GEEGOEY.
This song is founded on the ballad called the Lass of Lochroyan. The
air, which is supposed to be traditional, we have been unable to discover
in any of the ancient musical MSS. that have yet been brought to light.
The first printed source of this melody known to us is " The Scots Musical
Museum," 1787. Urbani afterwards printed it in his " Selection of Scots
Songs," page 1, in 1792.
7. THE BEDS OF SWEET EOSES.
This tune in our opinion has no Scottish character whatever, though
Stenhouse calls it a Border melody. We are inclined to think it hails
from some locality considerably south of the English side of the Border.
It was communicated by Mr Clarke to Johnson.
62 EAELY SCOTTISH MELODIES.
8. EOSLIN CASTLE.
This tune has been ascribed to Oswald as one of his own compositions,
but he never claimed it. It was inserted in his Caledonian Pocket
Companion, book iv., also in the collection which he dedicated to the Earl
of Bute, but both of these were published subsequent to "William
M'Gibbon's second collection of Scots Tunes," 1746, where it appears under
the name of the "House of Glams," page 3L Whether M'Gibbon's music
preceded Hewitt's song of Boslin Castle we have not been able to ascertain.
This is one of two tunes ascribed to Oswald in an obituary notice of
date 1821.
9. SAW YE JOHNNIE CUMMIN ? QUO SHE.
The first Scottish collection in which this air appears as it is now sung,
is Eobert Bremner's Thirty Scots Songs, 1757, page 6, under the name of
" Fee him, Father, Fee him." A bastard copy of both words and music was
published some years earlier by John Walsh, in a work entitled, A Collec-
tion of Original Scotch Songs, with a Thorough Bass to each Song for the
Harpsichord, part iii., under the title, " Saw ye John a coming," a Scotch
song. Its Scottish origin is not denied, though published in London
probably ten years or more before Bremner.
10. WOO'D AND MAEEIED AND A'.
Stenhouse remarks, " This humorous old song was omitted by Eamsay in
his Tea-Table Miscellany, 1724, although it was quite current on the
Border long before his time." In the absence of any evidence we are very
doubtful of this assertion. For further remarks on this melody we refer
the reader to page 53.
11. SAW YE NAE MY PEGGY.
Stenhouse remarks, "The melody, however, is inserted in an old MS.
music book in the editor's possession, before alluded to, and was also
printed in the first edition of the Orpheus Caledonius, 1725." We have
little or no knowledge of the MS. which is occasionally referred to by
Stenhouse, and we have no idea what has become of it. The air is con-
tained in Margaret Sinkler's MS. Music Book, dated 1710, in our possession,
and it is more melodious than the version given in the Museum. We are
not aware of its presence in any earlier collection, though it is probably
somewhat older than the earliest date here mentioned.
THE SCOTS MUSICAL MUSEUM. 63
12. THE BOATMAN.
This air is contained in the Orpheus Caledonius, 1725, but we have no
evidence of its having been found in any earlier source, though it was
ascribed by William Thomson to Bizzio, along with six other tunes, in the
first edition of his Orpheus, a statement which he omitted in the
second edition, 1733. The assertion is quite absurd. Eamsay gives a
superior version of the tune in the " Musick for the Songs in the Tea-Table
Miscellany."
13. THE FLOWERS OF EDINBURGH.
We are uncertain when this song first saw the light ; it was not at any
rate in Bamsay's Tea-Table Miscellany. Whether the melody was at first
called "The Flowers of Edinburgh" is very doubtful. It is not in the
Orpheus Caledonius, nor in Craig's or M'Gibbon's Collections. At the same
date as the last mentioned, however, it is found in the Collection of Curious
Scots Tunes, vol. ii., page 13, which James Oswald dedicated to the Prince
of Wales, and it is published in 1742 under the title of " My Loves bonny
when she smiles on me," and he included a slightly better version in his
Caledonian Pocket Companion, book iii., page 19, as the "Flowers of
Edinburgh." Stenhouse assigns a too early date for book iii., which we
know was not published till 1751. The tune was erroneously ascribed
to David Eizzio in the " Muses Delight," published at Liverpool, 1754.
16. FY GAB BUB HEE O'EB WI STEAE.
This melody we believe to be very old and thoroughly Scottish.
Stenhouse says, " It is at least as old as the reign of Queen Mary, as it is
contained in an MS. Music book written in the old notation or tablature
for the lute, about the beginning of the reign of ner son and successor
James VI." We have no idea what MS. he refers to, and he gives
no information as to the possessor of it, nor of its name. The first col-
lection we know in which the tune is found, is the Orpheus Caledonius,
1725. The words are in the Tea-Table Miscellany, vol. i., 1724, and are
understood to be by Eamsay. The tune is also in the music for the Tea-
Table Miscellany published about the same time. The air is said to have
been popular in England about the beginning of the eighteenth century,
and is found with English words in Watt's Musical Miscellany, vol. v.,
1731. We may add that there is a tune called "Eub her down with
Straw " in the 11th edition of the Dancing Master, 1701, but it is not the
Scottish melody.
64 EAELY SCOTTISH MELODIES.
17. THE LASS OF LIVINGSTON.
Stenhouse says, "This tune is inserted in Mrs Crocket's Music Book,
with many other old Scottish Airs, in 1709 : but, in all probability, it is
fully a century older; for Eamsay, who was born in 1684, gives it as an
ancient tune." Eamsay published in 1720 twelve " Scots Songs," in which
" The Penitent," to the tune of the Lass of Livingston, is the eighth of the
collection, and he also included it in his Tea-Table Miscellany, vol. i., 1724,
under the simple title of The Lass of Livingston, without indicating any
tune. Eamsay has said nothing whatever about the age of this particular
tune, although, in his preface to the Tea-Table Miscellany, referring to
the tunes generally, he states, ''What further adds to the esteem we have
for them is their antiquity and their being universally known." Stenhouse
does not say what the tune is called in " Mrs Crockat's MS.", or whether
it corresponds with the air in the " Scots Musical Museum." ■ There was
certainly a tune known as the "Lass of Living-Stone" before 1709.
It is in Henry Playford's Original Scotch-Tunes, 1700, page 14, but it
is totally different from the one under our notice. There is said to be
only one copy of the work referred to extant. George Parquhar Graham,
in his notes to "Wood's Songs of Scotland, vol. iii., page 99, says, " The tune
called ' The Lass of Livingston ' is another version of ' Cockle Shells ; ' "
though Stenhouse says " Cockle Shells " was printed in Playford's " Danc-
ing Master," first edition, 1657, it is not found in that work till 1701.
"We are now able to show that the melody was known under another
name previous to 1701, but we may presume it got the title of the Lass
of Livingston before Eamsay wrote his song. It also appears in Margaret
Sinkler's Music Book, 1710, under the title of " Highland Laddie." See
page 241.
18. THE LAST TIME I CAME O'EE THE MOOE.
Stenhouse tells us this tune is of undoubted antiquity, and quotes the
following from Cromek's " Eeliques " : " Burns says that ' Eamsay found the
first line of this song, which had been preserved as the title of the charm-
ing air, and then composed the rest of the verses to suit that line. This
has always a finer effect than composing English words, or words with an
idea foreign to the spirit of the old title. "When old titles of songs convey
any idea at all, they will generally be found to be quite in the spirit of the
air.' " Stenhouse proceeds to mention that Burns, in one of his letters to
Mr Thomson concerning the song, says : " There are several lines in it
which are beautiful, but, in my opinion — pardon me, revered shade of
Eamsay ! —the song is unworthy of the divine air." So much for the
antiquity of the melody, and the comment of Eobert Burns. "William
Dauney, in his Ancient Scotish Melodies, tells us that the title found by
Eamsay " was scarcely so fortunate — what he found was something much
THE SCOTS MUSICAL MUSEUM. 65
less poetical,—' The last time I came o'er the Moor ' is but a poor substitute
for the empassioned ejaculation— ' Alas ! that I came o'er the Moor.'"
And he characterises Eamsay's song as very " namby-pamby." He after-
wards lauds the melody as it appears in the Skene MSS. (in terms unin-
telligible to the general reader) as very superior to the more modern
versions ; but we may state that this is a mere matter of opinion. Grant-
ing that Eamsay's title is less poetic than " Alas ! that I," etc., neither he
nor Burns had any knowledge of it, and the tune was known by the title
given by Eamsay as early as 1692. Geo. F. Graham— who translated the
Skene MSS.— in editing Wood's Songs of Scotland, in 1848, did not go
back to the Skene version of the air. The tunes in the Skene and the
Blaikie MSS., though different from one another, are early versions of
that given in the "Scots Musical Museum," which is taken from the
" Music for the Tea-Table Miscellany," but neither of the early tunes is
identical with the later version, as alleged by Stenhouse; Eamsay's song
was published in 1720. This is another of the airs which William Thomson
in his " Orpheus Caledonius " attributed to Eizzio.
20. THE LASS OF PEATY'S MILL.
We have a long account of the origin of this song given by Stenhouse,
who states that it was written about a daughter of a John Anderson, a
proprietor in Aberdeenshire, about 1550. He relies on a statement made
by a great grandson of the lady, born in 1703, and living in 1791, who
remembered the following words from a song written by her discarded
lover,
" Ye'll tell the gowk that gets her
He gets but my auld sheen,"
but, "a more favoured lover composed a song to her praise, the air of
which only is now preserved." Such statements as the above, without
any evidence of the melody till we find it in the Orpheus Caledonius,
1725, set down as a composition of David Eizzio, are quite inadmissible as
evidence of the age assigned to it. From internal evidence of the structure
of the air it is more likely to have first appeared in the beginning of the
eighteenth century. Eamsay calls his song The Lass of Peattie's Mill, and
he makes no mention of the tune in his Scots Songs, 1720, nor in the
Tea-Table Miscellany, 1724
21 and 22. THE HIGHLAND LADDIE.
The two songs in the Museum were written by Allan Eamsay. The first
he calls the " Highland Laddie," and it is printed in the first volume of the
Tea-Table Miscellany, 1724. The other, beginning, " The Lawland Maids,"
is found in the second volume as " The Highland Lassie." We are indebted
to Dr Arne for the second melody. Of the other Stenhouse says, " With
E
66 EAELY SCOTTISH MELODIES.
regard to the tune it is very ancient, a set of it appears in a manuscript
collection of airs in 1687." It is impossible to make anything of this
assertion, because he gives no clue to the name of the MS. or where it is to
be found, to enable us to verify the statement ; and we know no tune of
the name so early as that date. There is quite an array of " Highland
Laddies " and of versions of tunes set to different words, which we will
present alongside of each other, beginning with the earliest we have dis-
covered, of date 1692.
23. THE TUENIMSPIKE.
Time — "Clout the Caldkon."
This melody is supposed to be ancient. Stenhouse, alluding to the song,
says, "It is adapted to the ancient air of Clout the Caldron, of which
tradition relates, that the second Bishop Chisholm of Dunblane used to
say, ' that if he were going to be hanged, nothing would sooth him so much
as to hear this tune played by the way.' " He also states, " The old song
beginning, ' Have you ony pots or pans,' may be seen in the ' Tea-Table
Miscellany,' and the ' Orpheus Caledonius,' 1725." We can put no trust in
his tradition story, and his assertion that the old song may be seen in the
Orpheus Caledonius, 1725, is mistaken; it does not appear before the second
edition of that work, vol. ii., 1733. Whatever age the tune may be, we
cannot find it earlier than 1733 in any printed or MS. collection. In the
" Ancient Music of Ireland, from the Petrie Collection," by F. Hoffmann,
1877, a copy of the tune is given, under the title of "About the Caldron,"
identical with that in M'Gibbon's third collection, 1755.
25. AULD LANG SYNE.
The tune to this song in the Museum is not to be confounded with
that which is sung to Burns's own song of the same name. The former
belongs to the seventeenth century, though the words printed to the air
are those of Allan Bamsay, entitled, " The Kind Beception," in his Scots
Songs, 1720. We are not indebted at any rate to either the Tea-Table
Miscellany Music, or to the Orpheus Caledonius for the earliest copy in
print. It was published by Henry Playford, London, in his work, " A Col-
lection of Original Scotch Tunes (Full of the Highland Humours), for the
Violin," etc., 1700, page 11, as "For Old long G-ine my Joe": it is also
found in Margaret Sinkler's Manuscript, 1710, without any name. In
Playford and Sinkler, the versions of the tune differ, shewing that the latter
was not copied from the former. It continued to be published, though
slightly varied, from time to time, by nearly all the compilers of Scots tunes
from 1700 to 1799, when George Thomson introduced the present air,
which has entirely superseded it. The melody was the only one known
as " Auld Lang Syne ' ; for at least one hundred years previously. The
THE SCOTS MUSICAL MUSEUM. 67
version in the Museum has been taken note for note from Neil Stewart's
Scots Songs, 1772. A different song from that of Eamsay, taken from
broadsides issued in the latter part of the seventeenth century, was printed
in James Watson's collection, 1711.
27. THE GENTLE SWAIN
The air to this song is known as " Johnny's gray Breeks." In Oswald's
" Collection of Curious Scots Tunes," published by John Simpson, London,
in 1742, it is included in the second volume, page 6, under the name of
" Jocky's Gray Breeches." The tune is in three-four time, but following it
is another version in common time, having "Brisk" prefixed to it. The latter
is entirely pentatonic, and bears a considerable resemblance to the modern
melody. It is uncertain whether there were two sets of the air current at
this time, or whether Oswald constructed the one tune from the other.
" Johnny's Gray Breeks," so far as we can discover, is not found in any
earlier collection.
30. BONNY BESSIE.
Tune — " Bessey's Haggies."
This is one of Eamsay's songs in the first volume of the Tea-Table
Miscellany, but it was not included in the original edition, 1724. It was
added along with some others in a later edition of that volume.
Stenhouse blunders again in saying, " Eamsay's words, adapted to the
music, appear in the Orpheus Caledonius, 1725." They do not appear
till the second edition, 1733. We suspect Stenhouse misquoted these
volumes intentionally, from the number of errors he makes when referring
to them. Eamsay mentions the tune, with his song, which is a proof of
its age, and Adam Craig gives it in his Collection, page 6, as a genuine
Scots tune. We have not discovered the original words to this melody.
31. TWINE WEEL THE PLAIDEN
Stenhouse says, " I remember an old lady who sang these verses to a
very plaintive and simple air, in slow treble, time, a copy of which, but
much corrupted with embellishments, appears in Oswald's Collection, No.
12, under the title of 'The Lassie lost her silken snood.'" Surely Sten-
house's memory was defective, otherwise he could have given us the old
lady's version for comparison; for we have no doubt that after some manipula •
tion of Oswald's tune, she may have sung the words to it. He also states
that "Napier, who first published the song, being unacquainted perhaps with
the original melody, adapted the verses to the same air which is inserted in
Johnson's Museum." This is perfect absurdity. Napier's first Selec-
68 EAELY SCOTTISH MELODIES.
tion of Scots Songs; 1790, was not published for fully three years after the
Museum, 1787 ; and the following is more conclusive still, — Johnson took
it word for word and note for note from The Musical Miscellany, 1786,
published at Perth more than a year before the Museum.
Urbani was very fond of this song.
32. THE FAIEEST OF THE FAIR.
The air in the Museum given to the Scottified copy of Bishop Percy's
beautiful song we are totally unacquainted with, but we suppose we are
not singular in this respect, as neither Stenhouse nor any other annotator
we know of has taken any notice of it. Our opinion is that it is an
imitation, or attempt to compose a Scottish air by some English
musician. Percy's song has been wedded to a very pretty melody by an
Irish musician, Thomas Carter, and was sung at Vauxhall in 1773. The
latter is entirely different from the one given by Johnson.
33. THE BLATHRIE O'T.
The air of this song is, we think, much older than the earliest copy of it
we have been able to discover. We do not find it either in manuscript or
print, before it appears in Oswald's Caledonian Pocket Companion, book
v., or in M'Gibbon's Third Collection, 1755, both being published about
the same time. Oswald's version, however, is so inferior that it can scarcely
be recognised, while that of M'Gibbon is not far from the version in the
Scots Museum. In the Caledonian Pocket Companion, it is called
" Deil take the Gair and the Bragrie o't," and by M'Gibbon, " Deil take the
Geir and the Bladrie o't." Hogg's song of " The Kye comes hame " is set to
this air, considerably altered.
34. L U C K Y NANCY.
Tune — " Dainty Davie." •
Of this melody, Stenhouse says with his usual inaccuracy, " The tune
of Dainty Davy is inserted in Playford's Dancing-Master, first pub-
lished in 1657." The fact is, the tune does not appear in any of the
Dancing-Masters till the 10th edition, 1698 : the first edition of the
work was published in 1651, instead of which, Stenhouse always gives 1657.
We are told that the tune was named after the Rev. David Williamson, who
had an adventure in the Covenanting times, and who afterwards became
Minister of the West Kirk. It is quite probable that tradition in this
instance may be trusted.
The melody, without title, is contained in Margaret Sinkler's MS.
Music Book, 1710.
THE SCOTS MUSICAL MUSEUM. 69
36. TWEED SIDE.
This is one of two tunes mentioned in an obituary notice quoted in the
Introduction to Stenhouse's " Illustrations of the Lyric Poetry and Music
of Scotland," in which it is said that James Oswald was "justly
celebrated as the author of ' Eoslin Castle,' ' Tweedside,' and numerous
compositions of lasting eminence." "We may mention that Oswald never
claimed either of these tunes in any of his publications, and the statement is,
therefore, a pure fabrication. It is a fact, moreover, that the tune of
" Tweedside :i was known long before his birth. The melody occurs in the
Leyden manuscript, called " Twide Syde," also in the Blaikie manuscript,
1692, under the name of " Doun Tweedside," and it was probably in the
older MS. of 1683, which was, unfortunately, lost by Blaikie.
37 and 38. MAEY'S DEEAM.
In the Scots Musical Museum there are two tunes given with the
words of this song. The first is the composition of John Lowe, a native of
Galloway, who is also the author of the verses. Stenhouse says, "the
second set of the air to Lowe's song is, I believe, the composition of my
friend Mr Schetky, the celebrated Violoncello player in Edinburgh." This
statement is contradicted by G. F. Graham, who says that a member of Mr
Schetky's family, when the question was referred to him, flatly denied it.
The second air belongs to a more modern school, and is not Scottish in
character, while that of Lowe's composition is very pathetic, better suited
to the song, and is an excellent Scottish melody in the minor key.
40. THE MAID THAT TENDS THE GOATS.
We are informed by Stenhouse that "this song was written by Mr
Eobert Dudgeon, farmer at Preston, near Dunse." He also states, that "The
air of this song is said to be of Gallic origin, and that it is called, ' Man
doun nan gobhar' (see Fraser's Highland Melodies). The editor never
met with this Highland song, neither did he ever hear the tune until it
was published with Mr Dudgeon's verses." Whether Stenhouse was
ignorant of the Highland song, or never heard the air, is not of any
consequence. He certainly was not aware that the tune was published
by the Eev. Patrick M'Donald in his " Collection of Highland Vocal Airs,
etc.," under the title of "Nighean doun nan gabhar," — "The Maid that
tends the Goats," — in 1784 (see page 21 of that work).
41. I WISH MY LOVE WEEE IN A MIEE.
This is an excellent old tune. Stenhouse assures us, that, "This old
melody is inserted in a manuscript music-book, which, from an inscription,
70 EAELY SCOTTISH MELODIES
appears to have belonged to a Mrs Crockat in 1709, — now in the editor's
possession." Though we have not seen this manuscript, we do not think it
necessary to dispute his statement. "We know the tune to be in all the old
collections, from those of Eamsay, and Thomson's Orpheus Caledonius,
onwards. We have not, however, traced the air to any earlier source,
though we believe it to be ancient.
42. LOGAN WATER
See English Claims, page 49.
43. ALLAN WATER
We are told by Stenhouse, — " This tune is inserted in a very old manu-
script in the possession of the editor, written in square shaped notes. It
has no title prefixed to it, so it is uncertain what it was called prior to the
year 1724."
The tune, which must be very old, is contained, we are told by Dauney,
in the Blaikie MS., 1692, and it occurs also in the Atkinson MS., 1694, as
well as the Sinkler MS., 1710. The tune in the two' last mentioned is
pentatonic in form, and all versions have Allan Water as their title. These
facts shew it was well known by that name long before 1724. We
consider the tune in ' Sinkler ' to be the most melodious.
44. THEEE'S NAE LUCK ABOUT THE HOUSE.
It does not concern us who was the author of the song. Whether it was
Jean Adams, or William Julius Mickle, we leave to be decided by
those possessed of literary proclivities. The tune, however, we are in-
clined to think, has been evolved out of " Up an' waur them a'," to which
it bears a strong resemblance. The melody is contained in " Johnson's 24
Country Dances for the year 1752," a London publication. It is not under
the same title, and is not exactly note for note, but it is nevertheless the
above air.
We are not aware of it having been found in any earlier source.
45. TAEEY WOO.
We are informed by Stenhouse that, "This beautiful song was copied
from the third volume of Eamsay's Tea - Table Miscellany ; but the
name of its author has hitherto eluded research." The first part of this
statement is wrong ; the song is not contained in the third, but in the
fourth volume. He also tells us that "the air appears in M'Gibbon's
first Collection, page 20." Neither is this correct ; it is in the Second
Collection, 1746. We cannot understand what Stenhouse meant by
THE SCOTS MUSICAL MUSEUM. 71
giving the wrong volume. The more modern tune of " Lewie Gordon "
is a mere modification of this melody, and strange to say, is included
in " The Seraph : a Collection of Sacred Music," London, 1818. It is set
to Milton's Hymn, and has the following note : " This fine air was com-
posed by the celebrated David Eizzio, who was murdered in the presence
of Mary Queen of Scots."
46. THE MAID IN BEDLAM.
It may be a difficult matter to determine whether this is an Irish or
Scottish melody. On that point we are quite in accordance with Stenhouse.
He falls into an error, however, in quoting M'Gibbon. The tune is not in his
first collection, but is printed on the second page of the second collection,
1746, under the title of " Will ye go to Flanders." James Oswald pub-
lished it with the same name in his second collection of " Curious Scots
Tunes," 1742, page 37. We are not prepared to say from this circumstance
that we have proved its Scottish origin, but merely that we have not seen
it elsewhere traced to so early a date. We are at a loss to know on what
grounds the Irish claim the tune under the title of " Molly Astore."
Bunting, their authority, states simply, " Author and date unknown, from
C. Fannin, harper, 1792."
47. THE COLLIEE'S BONNY LASSIE.
"This old song, which appears to have been retouched about the
beginning of last century, is printed along with the music in the Orpheus
Caledonius, 1725," see Stenhouse's Illustrations, page 51. We express no
opinion whatever about "the song, but Stenhouse has apparently known no
earlier source for the air than the Orpheus, though the tune was published in
English works of prior dates. It is contained in Walsh's Compleat Country
Dancing Master, 1719, and in an "Extraordinary Collection of Pleasant
and Merry Humours," etc., published by Daniel Wright, London, circa
1713. The melody as the " Coallior's daughter " is also in the Sinkler
Manuscript, 1710, a much superior version to the English sets, and it has
the minor seventh throughout. Henry Playford alsp gives an excellent
form of the air in his Original Scotch Tunes, 1700, under the title of
" Collier's Lass," and thus admits its nationality.
48. WITHIN A MILE OF EDINBURGH
The tune in the Museum is not to be confounded with another called
" Within a furlong of Edinborough town," published by Tom D'Urfey about
the end of the seventeenth century ; neither, however, can be claimed as
Scottish. The one under our notice, which is still sung, and somewhat
popular, is the production of an English musician of last century named
James Hook, who composed the music for a number of Vauxhall songs.
72 EAELY SCOTTISH MELODIES.
It is a fair imitation of a Scottish melody (but rather overdone in what is
usually termed the Scottish snap), and has in a sense become naturalised.
The words of the present song are simply an improved version of the
original one said to be written by D'Urfey.
49. MY AIN KIND DEAEY 0.
This melody is better known by the title of Eobert Ferguson's song
"The Lea Eig." James Oswald published it under that name in his
Caledonian Pocket Companion, book viii., page 20. A dance version of
the tune is also found in Eobert Bremner's " Collection of Scots Eeels or
Country Dances," page 76, called "My ain kind Dearie." "Whether the
song or the dance version is the more ancient we cannot affirm, but doubt-
less one of them has been constructed from the other. Bremner's Eeels
were published in 1760, Oswald may be a few years earlier. Our opinion
is, that Walsh's collection was in circulation previous to that of Oswald or
Bremner; though we are unable to affix a date. Walsh evidently pub-
lished two volumes of the work, and his successor continued it. We have
in our possession vol. ii., part i., which is apparently the fifth book, and
on its title page there is printed, "N.B. Just Published Caledonian
Dances Vol I in 4 Books Each 2s. 6d." We have seen other two books
belonging to the first volume, bearing on their titles " Book the Second "
and " Book the Third." In G P. Graham's note we find given, " Oswald's
Caledonian Pocket Companion, vol. iii.," instead of vol. viii., and later
annotators have copied and transmitted his error.
50. NANCY'S TO THE GEEEN-WOOD GANE.
Stenhouse contents himself by mentioning that the air of this song
is found in the Orpheus Caledonius, 1725. Eamsay published the song
under the name of " Scornf u' Nancy " in the first volume of his Tea
Table Miscellany, attaching to it the letter Z, which he used in that work
to denote old songs. Stenhouse says, "It may fairly be conjectured
that the song itself is at least as ancient as the union of the crowns in
1603." We think, however, his assertion is founded on the letter Z, and
not on any evidence. The song or the tune may have been known by
Eamsay's title or the first line of the song, previous to the Tea-Table
Miscellany, but of that we have no proof. The melody is contained in the
Blaikie Manuscript, 1692, entitled "Tow to Spine" (spin), and an excellent
version is given in Margaret Sinkler's MS., 1710, unnamed.
51. BLINK O'EE THE BUEN SWEET BETTIE.
This air was first published in Thomson's Orpheus Caledonius, 1725, and
about the same date it is found in the Musick for the Tea-Table
THE SCOTS MUSICAL MUSEUM. 73
Miscellany. Oswald and M'Gibbon also included the tune in their
collections. Stenhouse says, "Thomson in his Orpheus Caledonius has
taken some liberties with the melody," and again, " These blunders were
rectified in the Museum." We cannot endorse the statement about
Thomson, as all the early publications give different versions of the
melody. Stenhouse gives the original words of the song, "Blink o'er
the burn sweet Betty," " It is a cauld winter night," etc., but he omits to
quote his authority, or to show what the melody was like prior to the
Orpheus. Of the various sets we prefer that of Oswald.
52. JENNY NETTLES.
This song is said to have been written by Allan Eamsay, who has printed
it in the second volume of his Tea-Table Miscellany. Stenhouse states
" Some of the lines belong to a much more ancient, though rather licentious,
song." We have never found any older verses than those of Eamsay, nor
have we been able to trace the tune prior to Bremner's Scots Beels or
Country Dances, page 80, 1760. It is a nice cheerful melody, and when
played quickly makes an excellent dance tune. What may be considered
the prototype of the first strain of " Jenny Nettles " is found in the Skene
MSS., No. 5, called " I love my Love for love again."
53. WHEN ABSENT FEOM THE NYMPH.
Tune — " Jean, I Love Thee."
Stenhouse says in his note, "This delightful air was formerly called '
Jean, I love thee,' but the words of this ancient song are supposed to be
lost. The song to which this old air is adapted in the Museum, beginning,
" When absent from the Nymph," was written by Eamsay, and printed in
1724, and again in 1725, with the music, in the Orpheus Caledonius." He
also states, "The English air by Farmer is in treble time, but greatly
inferior to the old Scotch tune, in common time, called " Jean, I love
thee,' to which William Thomson adapted Eamsay's verses in 1725." We
have reason to doubt most of the above statements. The earliest copy
of the tune we can discover is in The Caledonian Pocket Companion,
book v., page 25, as " My love is lost to me." The song of " When absent
from the Nymph " is in the second volume of the Tea-Table Miscellany,
which however was not published in 1724, and neither words nor music are
inserted in the Orpheus Caledonius, 1725. The song occurs in the
second edition, 1733, but not to the tune in the Museum. The tune "
Jean, I love thee," is first found under that name in " Francis Peacock's
50 Favourite Scotch Airs, 1761 " — a very old tune.
74 EARLY SCOTTISH MELODIES.
54. BONNY JEAN.
The song in the Museum commencing, " Love's Goddess in a Myrtle
Grove," was written by Ramsay, and published in his poems, 1720, under
the name " Bonny Jean." The melody, so far as we are aware, is first
found printed in the Orpheus Caledonius, 1725. " Bonny Jean " is now
much better known as the air to James Ballantine's popular song, " Castles
in the Air." A musical manuscript written in tablature, which has received
the title of the " Guthrie," and is said by D. Laing to be not later than
1680, contains a supposed tune named " Bonnie Jean," along with a number
of others having well known titles, but after a careful examination we have
come to the conclusion that there is not a single tune in it. It appears to
us that the whole contents are accompaniments for the voice, to be played
on some instrument that is not mentioned.
55. O'ER THE MOOR TO MAGGY.
Stenhouse begins his note thus — " This old air of one strain (for the
second strain is only a slight variation of the first) was united to some
verses which Ramsay very properly rejected in the Tea-Table Miscellany,
and substituted one of his own composition, which is that in the Museum
beginning, ' And I'll o'er the muir to Maggie.' Thomson did not insert
Ramsay's song in his Orpheus Caledonius.'' He further tells us, —
"Daniel Wright's British Miscellany, or the Harmonious Grove, 1733,
contains it, entitled, ' O'er the moor to Maggie,' within the compass of the
flute, never before printed." Stenhouse evidently knew nothing about the
" Musick for the Tea-Table Miscellany," circa 1726, where the air is in-
serted. So far as stated concerning the one strain, he is not correct, with those
already named, and even the publications that followed; but the tune is said
to be in the Blaikie MS., 1692, though we have not seen it. " Over the
Mure to Maggie" is in the Leyden MS., 1692, and "Ore the mure to
Magie" in the Sinkler, 1710, both melodies with two distinct strains, and
superior versions to those printed. Ramsay's song appeared in 1720.
Probably there were no early words. The tune is a Scots measure.
56. PINKY HOUSE.
Stenhouse informs us that, "The air of Pinky House was anciently called
' Rothes Lament.' Of this old song the melody and title are all that re-
main." In the Tea-Table Miscellany, Ramsay has given no title to the
verses beginning, " As Sylvia in a forest lay " : he simply heads it " Song " ;
but the words are prefaced, " To the tune of ' Rothes's Lament,' or ' Pinky
THE SCOTS MUSICAL MUSEUM. 75
House,'" and we hold that Pinky House was not the same melody as "Kothes's
Lament," but an alternative tune. Our inference is further strengthened
because all the copies of the tune we have seen are called " Pinky House,"
until we arrive at Eitson, who in his Scottish Songs uses Eamsay's words.
No copy, whether in vocal or instrumental collections, in manuscript or
print, is cited in support of Stenhouse's assertion. The tune is first
published in the Musick for the Tea -Table Miscellany, circa 1726,
and is not in the Orpheus Caledonius till 1733. It is in nearly all the
Scottish collections, Craig's excepted.
57. HEEE AWA', THEEE AWA\
To Oswald we are indebted for preserving this fine tune. It is inserted
in book viii. of his Caledonian Pocket Companion, page 1, and not in
book vii. as stated by Stenhouse. Oswald made no claim to it, and its
publication shortly afterwards by Eobert Bremner in his " Second Set of
Scots Songs," 1757, proves that it was not one of Oswald's compositions.
Stenhouse delights in making observations about old words, but he seldom
attempts to verify what he asserts. He remarks, " The last four silly lines,
which are attached to them in the Museum, have no earthly connection
with the preceding stanzas ; they belong to a still more ancient but in-
admissible version of the song.' ; We have simply to say that the words
in the Museum are identical with those of Bremner, and that, if
Stenhouse is to be believed, he must have possessed most remarkable
editions of the works he so often misquotes.
58. THE BLITHSOME BEIDAL.
This song, which was first printed in Watson's Choice Collection, 1709
has been attributed to Semple of Beltrees ; and has also been claimed as
the composition of Sir William Scott of Thirlestane. We pass this matter
over, as it is not our province to decide who was the author of the words,
The melody, which we think is much older than 1725, was not printed till
thai; year, William Thomson being the first to include both words and
music in his Orpheus Caledonius. In Adam Craig's Collection, the tune
occurs under what is said to be the more ancient name of " An the Kirk
wad let me be." Allan Eamsay, in his Poems, 1721, directs his song, "'The
Satyr's Comick Project,' to be sung to the tune of ' If the Kirk wad let me
be.'" In proof of the age of the tune we may mention that the last
quoted title is applied to what is supposed to be the melody, in the tabla-
ture known as the Guthrie MS., which we have noticed under " Bonny
•Jean." The song of "Kirk wad let me be" is contained in Herd's
Ancient and Modern Scottish Songs, 1776, and in Eobert Chambers's
76 EAELY SCOTTISH MELODIES.
Scottish Songs, 1829. The tune is in John Walsh's "Caledonian
Country Dances/' — the title, " Silly old Man," being taken from the first
line of the song, "lama poor silly old man." Craig has given the air in
I instead of f measure, and Walsh in j> instead of g measure, which places
the accented notes in a wrong position, and gives each strain six bars in
place of four. Two other of Eamsay's songs, viz., " Slighted Nancy," and
" The Step-Daughter's Relief," in the Tea-Table Miscellany, and a verse in
"The Gentle Shepherd," "Duty and part of reason," are also sung to
this tune.
59. SAE MEREY AS WE TWA HAE BEEF.
This tune is one of the most ancient, and is remarkable as having a three-
bar rhythm, which is seldom used. The melody has been preserved in both
the Straloch and Skene manuscripts, and it occurs in most of the early
printed Scottish Collections of Music. In the Skene Manuscript it is
called " Sa mirrie as we have bein." If the air possessed words before
those written by Ramsay they are now entirely forgotten.
60. BONNY CHEISTY.
This is the first song in Eamsay's Tea - Table Miscellany, 1724, but
whether it is one of the earliest of his productions we have not ascertained
The melody appears to be an ancient one. Its title, " Bonnie Christian," is
contained in the manuscript which we have alluded to as the " Guthrie "
tablature; date, according to D. Laing, LL.D., between 1670-1680. In
that little volume it is incomprehensible as a melody, and seems to be a
mere accompaniment, as we have stated in our note to " Bonny Jean." The
manuscript of 1692, which belonged to Andrew Blaikie, has also "Bonny
Christon," but his translation of the tablature cannot be understood, and it
is not known where that MS. now is. The tune was first printed in the
Orpheus Caledonius, 1725, and shortly after in the Musick for the Tea-
Table Miscellany, where it is also the first air. It is included in many
of the later collections.
61. JOCKY SAID TO JEANY.
This song is given in the first volume of the Tea -Table Miscellany,
1724, with the letter Z attached to it, signifying that it is old and the
author unknown. The tune has certainly the characteristics of age,
though we have not found it earlier than in the " Musick for the
Scots Songs in the Tea-Table Miscellany." Stenhouse says it is
inserted in the "Orpheus Caledonius," 1725, but it appears only in
THE SCOTS MUSICAL MUSEUM. 77
the second edition, vol. ii., 1733. His note is entitled, " Jockey said
to Jenny," and he says it " is another little poetic gem of some ancient
though now forgotten minstrel." "Eamsay's song is entitled 'For the
love of Jean.' This title, however, does not appear to have any sort of
relation to the old comic verses." We may remark that the title Eamsay
gives indicates a relationship to the song, and the tune in the Tea-Table
Music, the " Orpheus Caledonius," and Oswald's •' Caledonian Pocket Com-
panion, bears the same title as is given in the Museum. What about the
old comic verses ?
62. O'EE THE HILLS, AND FAE AWAY.
Stenhouse alludes to the air as an old pipe tune, '' of which a manuscript
copy of considerable antiquity is in the possession of the editor." Again,
he says, " The song in Eamsay's Tea-Table Miscellany, entitled ' O'er the
hills and far away,' beginning, 'Jockey met with Jenny fair,' is not a
genuine Scottish production. It was made by one of the Grub Street
poetasters about the year 1700, and afterwards inserted with the music in
the fourth volume of the Pills to Purge Melancholy, a second edition of
which, by Mr John Lenton, was printed in 1709. It is there called
' Jockey's Lamentation,' see p. 63. In the index to the reprint of 1719 it
is in the fifth volume under ' Jockey met with Jenny fair.' " Though the
tune is so far as we know first printed in the " Pills," that does not prove
its English nationality, and we have reason to believe it to be Scottish, and
older than that publication. We may state that the tune as printed is not
entirely suited to the words, a much better version of the melody, called
" My Plaid away," is contained in Margaret Sinkler's MS. book, 1710.
63. THE FLOWEES OF THE FOEEST.
It is not our purpose to make any remarks about the authorship of the
various songs that have been written to this melody in the Museum.
To many persons, Stenhouse's note would be understood to refer to the
tune which is printed by James Johnson, whereas he confounds it
with the more ancient one contained in the Skene Manuscript. The
modern air we have not been able to trace to an earlier source than
Oswald's Caledonian Pocket Companion, book xi., circa 1759, and to
M'Gibbon's " Scots Tunes, with some Additions," by Eobert Bremner,
1762. From which circumstance we are inclined to think it a composition of
about that time. The old melody in the Skene Manuscript is, in our opinion,
a far superior production, so natural and plaintive, full of pathos and
expression, requiring none of the so-called graces or embellishments of the
modern tune.
78 EAELY SCOTTISH MELODIES.
64. BUSK YE, BUSK YE.
This tune, called " The Braes of Yarrow," is found for the first time in
the second volume of the Orpheus Caledonius, 1733, — the date 1725 being
another of Stenhouse's mistakes. He tells us that the first four lines " is
all that remains of the original song " ; referring to both Eamsay and
Hamilton. The fourth line of their verses conveys a different meaning.
G. F. Graham, who says " the first three lines," is probably correct. That
gentleman states that a tune called "The lady's Goune," in the Leyden
tablature manuscript, seems to be an old and simple set of " The Braes
of Yarrow." In that remark we think he errs, as his own translation of
the " Lady's Goune " does not suit the first three lines of either of the
songs; but we entirely agree with his statement, that in many cases
the translation of tablature tunes is quite conjectural, in the absence
of the measure and duration of notes, so characteristic of these
manuscripts.
65. THERE'S MY THUMB, I'LL NE'ER BEGUILE THEE.
Stenhouse tells us, " This ancient Scottish melody formerly consisted of
one strain. It appears in the Orpheus Caledonius of 1725 in this
simple garb, with the same verses that are inserted in the Scots Musical
Museum, beginning, "Betty early gone a Maying." It was afterwards
printed in the fourth volume of Watt's Musical Miscellany, 1730. There
are some verses to the same air in Ramsay's Tea-Table Miscellany, 1724,
beginning, " My sweetest May let love incline thee," in stanzas of eight
lines each. From this circumstance it is evident that a second strain had
about this time been added to the tune, though unknown to the editor of
the " Orpheus Caledonius." Can anything be more apparent than that
Stenhouse took no trouble to ascertain when the second strain was first
added to the melody. The tune appears in the Musick for the Scots
Songs in the Tea-Table Miscellany, and in Craig's, M'Gibbons, and Oswald's
Collections ; the three latter give variations but no second strain. Robert
Bremner was the first to print the second strain in his " Thirty Scots Songs,"
1757, a volume which Stenhouse wrongly dates 1749, and from that work
it has been taken bodily for the Scots Musical Museum.
66. GILDEROY.
We have a long dissertation in Stenhouse's Illustrations, concerning the
songs, the authors, the publications, and the hero called Gilderoy, but little
is said about the melody. Different authorities are at variance with one
another, and even as to the date of the free-booter's execution they do not
THE SCOTS MUSICAL MUSEUM. 79
agree. Stenhouse in his note has 1638, while in the additional notes, page
320,* 1636 is given. We now turn our attention to the tune of " Gilderoy."
Eamsay, in the first -volume of the Tea-Table Miscellany, directs the song
of " Ah I Chloris cou'd I now but set " to be sung to the tune of Gilderoy,
and the melody was shortly afterwards published in the Musick for the
"Scots Songs" in the "Tea-Table Miscellany" {circa 1726). In that
collection it is not very different from the version at present in use. D'Urf ey
has the song of Gilderoy with a set of the tune in the fifth volume of
Pills to Purge Melancholy, page 39, 1719, but we consider both words and
music as given by him to be of a bastard description. The air as now in
use was printed in 1742.
67. JOHN HAY'S BONNY LASSIE.
This tune is to be found not only in the Orpheus Caledonius, 1725, but
also in the music for the " Scots Songs " in the Tea-Table Miscellany, and
in Craig's, Oswald's, Bremner's, Peacock's, and later collections. That is
sufficient evidence of its popularity in the first half of the eighteenth
century. Stenhouse says, "The verses are generally attributed to Allan
Eamsay ; but, from the circumstances about to be mentioned, they would
rather seem to be the production of an older and somewhat inferior poet."
We will not enter into Stenhouse's arguments, but simply state that
Eamsay published it, previous to 1724, in a small collection of "Scots
Songs." eight in number, in 1720. The tune may be little older than the
words, but Craig does not say that all the airs in his collection are old, nor
does Thomson. If Stenhouse knew the Tea-Table music he did not require to
quote Watt's Musical Miscellany, 1730.
68. THE BONNY BEUCKET LASSIE.
In his note Stenhouse says, " This air appears in Oswald's first collection,
published in 1741." He usually assigns a too early date, but in this
instance he errs on the other side. The "curious collection of Scots Tunes,"
the work he refers to, was published in 1740. The song in the Museum was
written by James Tytler, who was commonly called Balloon Tytler, because
he was the first person in Edinburgh who ascended in one. We have no know-
ledge of the earlier song. The melody, however, is said to be contained in the
Leyden manuscript, 1692, entitled, " The bonie brooket lassie, blew beneath
the eyes," and we have it in the Sinkler manuscript, 1710, without name —
the latter is in our possession.
69. THE BEOOM OF COWDENKNOWS.
See English Claims, page 33.
80 EAELY SCOTTISH MELODIES.
70. OSCAE'S GHOST.
The words of this song were written by an old maiden lady, Miss Ann
Keith. The melody is the composition of Mrs Touch, the wife of the Eev.
Dr John Touch, minister of St Cuthbert's Chapel of Ease, Edinburgh. She
was the sister of the Eev. Patrick M'Donald, who published a " Collection
of Highland Vocal Airs," etc., in 1784. It is said that she excelled her
brother both as an instrumentalist and as a composer. The tune has
considerable Highland character, and is well suited to the words. " Oscar's
Ghost," both words and music, was printed previous to the Scots Musical
Museum in Neil Stewart's Thirty Scots Songs, 1781. The first and second
verses appeared in the " Scots Nightingale," 1779.
71. HEE ABSENCE WILL NOT ALTEE ME.
The tune is called " When absent from the Nymph I love," the words of
which song Johnson gave to the tune of " Jean I love thee," No. 53. The
melody was first printed in the Orpheus Caledonius, 1733, not in 1725 as
stated by Stenhouse. The air, however, is considerably older, it is contained
in a manuscript book for the flute which belonged to a William Graham,
1694. A former possessor of the MS. was David Laing, LL.D., who died
in 1878. It was borrowed from William Chappell by John Muir Wood
in 1876. The tune in Graham's volume is in § measure.
72. THE BIRKS OF INVEEMAY.
Stenhouse states that the tune is contained in Thomson's Orpheus Cale-
donius, but he neglects to mention in the second volume, published 1733.
He says also, Mallet wrote the two first stanzas of the song, beginning, " The
smiling morn, the breathing spring," and directed them to be sung to a
Scotch tune, "The Birks of Endermay.'' He affirms that "Eamsay
inserted Mallet's song in the third volume of his Tea-Table Miscellany,
whereas it appeared as the second song in the fourth volume." The air is
not in any collection before 1733. It occurs in those of M'Gibbon and
Barsanti, both published in 1742, as the " Birks of Envermay," in Oswald's
Caledonian Pocket Companion, book ii., as the Birks of Endermay, and
in Brenmer's Scots Songs, 1757, who in the words, however, gives
" Invermay." With the title of " The Birks of Invermay " it appears in
Peacock's Scotch Tunes, 1762 ; the same as in the Tea-Table Miscellany.
As Mallet's Poems, Thomson's Orpheus, and Oswald's Caledonian Pocket
Companion were all published in London, we presume that " Ender " was
more easily pronounced by the Southerns than Invermay, which is the
correct form.
THE SCOTS MUSICAL MUSEUM. 81
73. MARY SCOT.
Stenhouse says, "This ancient Border-air originally consisted of one
simple strain. The second, which, from its skipping from octave to octave,
is very ill adapted for singing, appears to have been added about the same
year, 1709 (what does he mean by same when he has not alluded to any
year), and was printed in Thomson's Orpheus Caledonius, 1725." Sten-
house is wrong about the second strain; the tune, with both strains, is
found in Apollo's Banquet, 1687, and is there called " Long Cold Nights."
Gow in his first "Repository" gives '"Carrack's Rant,' a strathspey.
The old Scotch Song of Mary Scott is taken from this tune." We agree
with Stenhouse in saying that, " The converse of this supposition is the
fact; for Carrick's Rant is nothing else than Clurie's Reel, printed in
Angus Cumming's Collection. But the tune of Mary Scott was known at
least a century before either Clurie's Reel or Carrick's Rant were even
heard of." We cannot, however, endorse Stenhouse's assertion regarding
the age of Carrick's Rant, for we know it to have been published in Walsh's
Caledonian Country Dances about forty years before Cumming's Collection
of 1780.
74. DOWN THE BURN DAVIE.
This is a fine old tune ; it is the last air in the Orpheus Caledonius, 1725.
It appears also in the second edition, first volume, 1733, where it is
considerably altered and improved. The tune we have not found in any
earlier source, and is probably not much older than the date of the
Orpheus. It is one of the airs which Thomson ascribes to David Rizzio, a
piece of sheer nonsense. The song of " Down the burn Davie " is now
usually sung to music by James Hook, an English composer, but we greatly
prefer the Scottish tune, as given in the Musical Miscellany, 1786, and in
the Museum, 1787, which are identical. According to Stenhouse, " Mr
Burns says, I have been informed that the tune of 'Down the burn
Davie ' was the composition of David Maigh, Keeper of the blood slough
hounds belonging to the Laird of Riddell in Tweed-dale. But he was
probably misinformed, for the tune occurs note for note in the Orpheus
Caledonius printed in 1725." This latter statement is a gross exaggera-
tion. It is probable that Burns meant the version printed in the Museum,
which is infinitely superior to any of the earlier sets, though not greatly
different from the Orpheus of 1733.
75. THE BANKS OE FORTH.
This melody is a composition of James Oswald, who published it in his
"Curious Collection of Scots Tunes," 1740. It also appeared in the
F
82 EAELY SCOTTISH MELODIES.
" Caledonian Pocket Companion," book i., page 20 ; but for that work the
date 1741 assigned by Stenhouse is too early. The tune we consider to be
better suited for the flute or violin than for the voice. It is very florid,
especially for a Scottish song, if the verses deserve that name.
76. SAW YE MY FATHER.
See English Claims, page 54.
77. GREEN GROWS THE RASHES.
It need scarcely be mentioned that this song was written by Robert
Burns.
The melody, according to Stenhouse, " is old, a bad set of it occurs in
Oswald's first collection, 1740 ; but he seems to have forgot that the tune
had been used as a reel, as well as a song, in Scotland time out of memory."
It would be very difficult to recognise the present tune in Oswald's.
Stenhouse says again, " The tune, however, appears to have been also known
by the title of ' Cow thou me the Rashes green,' quoted in the ' Complaint
of Scotland ' in 1549." There is not the least evidence that the tunes are
the same, it is a case of presuming on similarity of titles. Laing, in the
additional notes, states, " The tune of ' Green Grows the Rashes ' occurs in
the Straloch manuscript." The tune in the MS. bears some resemblance
to the first strain, but it must have undergone a strange metamorphosis
to become the one under consideration. We have the tune in Walsh's
"Caledonian Country Dances," book second, called, "John Black's
Daughter." This publication may be as early as Oswald's, but we have
not been able to ascertain its date. The air, however, is in Johnson's
Twelve Country Dances for the Harpsichord, collected for the year 1749,
as "Foot's Vagaries," and a better version is contained in D. Rutherford's
" Twenty-four Country Dances for the year 1750," called " Foot's Vagaries,"
or " Green grows the Rashes," which is superior to the " Grant's Rant " in
Bremner's "Collection of Scots Reels or Country Dances," 1759, and at
least equal to that in the Museum.
78. LOCH EROCH SIDE.
This tune has been claimed as the joint composition of Niel Gow and his
second wife. It was published, however, by Alexander M'Glashan in 1786
as a Strathspey, named " Loch Eireachd Side," and in his collection it is
followed by another tune, " Over young to marry yet," from which it has
evidently been taken, apparently that it might be contrasted with it. Niel
Gow inserted "Loch Erroch Side" Strathspey in his second collection,
THE SCOTS MUSICAL MUSEUM. 83
1788, but no claim was made for the authorship till the second edition
of 1803, six years after M'G-lashan's death, and fifteen after its first publica-
tion. The song which follows, " Young Peggy blooms our boniest lass,"
had not Burns's name prefixed to it till after his death.
79. THE BONNY GEEY EY'D MOEN
We consider this to be an English tune, and we agree with Stenhouse that
no proper claim to it has been established on behalf of Jeremiah Clarke.
80. THE BUSH ABOON TEAQUAIE.
Stenhouse says, "This charming pastoral melody is ancient. It was
formerly called ' The bonny Bush aboon Traquair.' " It appeared first in
the Orpheus Caledonius, 1725, and is there said to be composed by David
Eizzio. The song, with the letter C attached, indicating the words to be
new, appeared in Eamsay's Tea-Table Miscellany, 1724. "We have no clue
to any older words, nor even to the tune. The title is that of the song,
which seems to be derived from its recurring twice in the verses. The
melody next occurs in the " Musick for the Scots Songs in the Tea-Table
Miscellany."
81. ETEICK BANKS.
Stenhouse tells us, "This is another of those delightful old pastoral
melodies, which has been a favourite during many generations. It is in-
serted in the Orpheus Caledonius in 1725, with the same elegant stanzas
that appear in the Museum." This is another fabrication, because the
words and air do not appear together till the second edition of the Orpheus,
1733. How Stenhouse came to discover so many tunes in the Orpheus of
1725 is quite a mystery to us. The next collection in which the tune
occurs is " Oswald's Curious Collection of Scots Tunes," 1740. The song
itself does first appear in the fourth volume of the Tea-Table Miscellany,
which begins with it. We doubt if the tune is much earlier than
1733.
82. MY DEAEY, IF THOU DIE.
We are informed by Stenhouse that, " This beautiful melody is ancient,
but of the old song only a fragment remains, ending with ' My dearie, an
thou die.' " To this statement we agree, but he errs in saying, " the song
appeared in 1725 in the Orpheus Caledonius, with the music," instead of
84 EAKLY SCOTTISH MELODIES.
in 1733. The melody, however, did appear in the " Musick for the Scots
Songs in the Tea-Table Miscellany," published about 1725, and in Adam
Craig's Collection of the Choicest Scots Tunes; both of which works
precede the " Orpheus " of 1733. The tune, " My dearie, if thou dye," is
contained in the Blaikie and also in the Leyden MSS. of 1692. It
possesses the characteristics of an early period.
83. SHE EOSE, AND LET ME IN.
See English Claims, page 35.
84. SWEET ANNY FEAE THE SEA-BEACH CAME.
This melody is a very good imitation of the Scottish style. It is the
composition of Dr Greene, and was published in 1739 in the first volume
of " Calliope, or English Harmony," a work which contains about two dozen
Scottish songs, with the music. The publishers are Henry Eoberts and
John Simpson, London.
85. GO TO THE EW-BUGHTS, MAEION.
This song appears in the first volume of Allan Eamsay's Tea-Table Mis-
cellany, 1724. It has the letter Q appended to it, which means it is an old
song with additions. Of this we have no doubt, and we believe the air,
from its construction, to be considerably more ancient than Eamsay's time.
Stenhouse errs again by saying that the tune occurs in the Orpheus Cale-
donius 1725, instead of in the second volume, 1733. The version of the
tune given there is not identical with that now sung. The earliest copy
we have been able to discover of the present set is in a collection of Scots
songs published by Neill Stewart in 1781.
86. LEWIS GOEDON.
The air to this Jacobite song is like the words, not old. The song
is said to have been written by the Eeverend Alexander Geddes, a Eoman
Catholic priest who attempted a new translation of the Bible, which, owing
to his death, was never finished. The earliest copies of the verses, together
with the music, we have found is in Corri's Scots Songs, 1783. The
melody bears a great resemblance to the older tune of "Tarry Woo,"
from which it has been evidently borrowed. "Lewis Gordon" has been
used for a hymn tune in a publication called the Seraph, see note
No. 45.
THE SCOTS MUSICAL MUSEUM. 85
87. THE WAUKING OE THE EAULD.
This air, judging from its structure, is apparently very ancient, though
we have failed to find it in any collection earlier than the Orpheus
Caledonius of 1733. It is not in the 1725 edition, as asserted by Sten-
house ; and strangely, it does not turn up again until 1751, in Oswald's
" Caledonian Pocket Companion," book iii. Still later, 1760, it appears in
the " Music to the Songs in the Gentle Shepherd," published by Kobert
Bremner. The version of the tune in the Orpheus, and that of Bremner,
are pentatonic ; the former wanting B and E, and the latter C and F in
their scales.
88. MY NANNY 0.
See English Claims, page 44.
89. OH ONO CHEIO.
Stenhouse in his note says, " Dr Blacklock informed Burns that this
song, which is adapted to a wild and plaintive Gaelic air in the Museum,
but quite different from that which appears in Oswald's Collection, was
composed on the horrid Massacre of Glencoe, in 1691," etc. This statement
is rather ambiguous. Does Stenhouse mean that the song was written in
1691, or that the air was composed at or about that date ? And what col-
lection of Oswald's works is meant ? Had Stenhouse examined the air
called " Oh Onochie 0," in the ninth book of Oswald's " Caledonian Pocket
Companion," with any care (we know no other tune in Oswald with a title
resembling that given in the Museum), he would have found it to be
another version of the Highland Melody in a different key. Oswald also
included it, under the same name, in the collection which he dedicated to
the Duke of Perth, 1740.
90. LOW DOWN IN THE BEOOM.
Stenhouse makes the following observation respecting this tune: " Sibbald
states it as his opinion that one of Wedderburn's godly ballads, first printed
about the year 1549* and again by Kobert Smyth at Edinburgh, 1599, was
sung to this old tune." The above is pure conjecture, not being supported
by any evidence. Stenhouse further says, " David Herd rescued it (the
song) from the stalls, and gave it a place in his Collection. Oswald has
inserted a wretched copy of the melody in his Caledonian Pocket Com-
panion, under the title of 'My Love's in the Broom.' In the Museum
there is a genuine copy both of the words and air." If we are indebted
86 EAELY SCOTTISH MELODIES.
to Herd for the song, we are also indebted to Francis Peacock, who gives
the melody in his Fifty Favourite Scotch Airs, 1762, under the title of
" Down in the Broom/' exactly as printed by Johnson in the Museum.
91. I'LL NEVEE LEAVE THEE.
The tune in the Museum, though Stenhouse calls it by the above name,
is not the one that appears with the words of Eamsay's song in the
Orpheus Caledonius of 1725; nor with that which was printed with
Eamsay's words in Watt's Musical Miscellany, 1730. In both of these
works the tune given is a corrupt version of " Bannocks of Bear Meal."
The tune in the Museum, adapted to "One day I heard Mary say," is
the one published with the title of " I'll never leave thee," in the Musick for
the Scots Songs in the Tea-Table Miscellany, circa 1726. Eamsay's song,
" Tho' for seven years and mair Honour shou'd reave me," was published
in 1720, and Crawford's " One day I heard Mary say," not till the second
volume of the Tea-Table Miscellany was printed.
92. BEAES OF BALLENDEN.
Stenhouse says, " The composition of this fine air has been attributed to
Oswald, but upon what authority I am at a loss to discover." He
adds, "The editor of Albyn's Anthology, in the introduction to that
work, asserts that Oswald was the composer in the following terms : ' In
the year 1759, James Oswald, one of the most successful musical advent-
urers in London, published his Caledonian Pocket Companion, in twelve
thin octavo volumes, usually bound up in two,'" etc. We have no
intention of defending Alexander Campbell's assertion, nor his date for the
Caledonian Pocket Companion, but we may say that, though he is in error as
to the tune, he. is much nearer the mark than Stenhouse as to the publication.
The latter describes it thus : " Oswald published his Pocket Companion in
periodical numbers which he calls volumes, each consisting of from 32 to
36 pages ; six of these in two parts, called his First and Second Collection,
price ten shillings, were advertised in the Scots Magazine for November
1742." That Stenhouse ever saw or possessed a copy of Oswald's Caledon-
ian Pocket Companion is doubtful, but if he did, his description of that
work amounts to a fraud. Oswald does not term "volumes" what
Stenhouse calls periodical numbers, but he names them books, the first
and second of which contain 36 pages each, the third 28, the fourth and fifth
32 each, and the sixth 28, making the first volume ; the seventh book has
33 pages, the eighth 28, the ninth and tenth 24 each, the eleventh 28, and
the twelfth 24, completing the work. The Caledonian Pocket Companion
was not published in 1742, but it began a year or two later, and it was
probably not finished before the year 1760 : positive information, however,
THE SCOTS MUSICAL MUSEUM. 87
is wanting. The advertisement to which Stenhouse alludes does not refer
to the " Caledonian Pocket Companion," but to the " Collection of Curious
Scots Tunes." The following is a verbatim copy, from the Scots Magazine
of November 1742 : " A second Collection of Curious Scots tunes, by James
Oswald, 6s., or 10s. both collections."
93. COEN EIGGS.
See English Claims, page 50.
94. MY APEON, DEARIE.
This charming tune, though we possess no copy of it earlier than 1725,
must be of some antiquity. Allan Eamsay, in the first volume of his Tea-
Table Miscellany, has a song beginning, " Ah, Chloe ! thou treasure," which
he directs to be sung to the tune of " My Apron, Deary " ; so the air must
have been well known at that time. A claim has been made by Captain
Fraser in his " Airs and Melodies peculiar to the . Highlands of Scotland
and the Isles," who says in his notes, — "No. 39, 'N't aparan goired,'
— ' Short Apron/ — This air, from having been new-modelled by Macgibbon
or Oswald, is claimed as a Lowland Scots melody," &c. "We would require
more than mere assertion to convince us that it was anything else, seeing
that it was published by "William Thomson in 1725.
95. LOCHABEE.
George Farquhar Graham, in his note to "Lord Eonald" in "Wood's
" Songs of Scotland," 1848, volume ii., page 75, states, " "We demur to
Burns' theory of ' Musical Shepherds,' . . . but we have no reason to
doubt Burns' opinion that the air of ' Lord Eonald ' was the original of
' Lochaber.' In Dr John Leyden's MS. Lyra- Viol Book, formerly referred
to in this work, p. 25, et passim, we find (No. 2) an air called ' King
James' March to irland.' It differs considerably from the air of ' Lord
Eonald/ and from the more modern air of ' Lochaber/ but still resembles
both so strongly as to point to the same family origin. But the air of
' Lord Eonald ' consists of one strain, as happens in most of our oldest
Scottish melodies ; while ' Lochaber ' and ' King James' March to irland
consist each of two strains ; thus throwing back the greater probability of
antiquity upon ' Lord Eonald.' James II. landed at Kinsale, in Ireland, on
12th March 1689. The Battle of the Boyne took place on 30th June 1690,
when James was defeated, and fled back to France. As to the name of
' Limerick's Lamentation/ given by the Irish to a modified version of the
88 EAELY SCOTTISH MELODIES.
air of ' Lord Eonald,' the title may refer to the capitulation of Limerick to
William's forces, soon after the Boyne battle ; or to the taking of Limerick
in 1649, by Cromwell's troops, aided by pestilence and treachery." We
shall throw no doubt on Burns having sent to Johnson's " Museum " the
two stanzas of the so-called ancient ballad ("Lord Eonald"), with the
simple and pathetic melody, recovered by him in Ayrshire, but we have
no evidence that the melody, though slightly different, is older than
"Lochaber" as found in Adam Craig's Collection, 1730. Probably the
second strain was unknown (or at least not required for " Lord Eonald ")
in Ayrshire. The single strain is no proof of antiquity. We may
as well affirm that the lines of some one who has written a single
verse to a tune, must be earlier than another's song of four or more
stanzas. Without reference to an early printed or manuscript copy,
we cannot accept " Lord Eonald " as the parent melody. In alluding
to the Irish claim under the title of " Limerick's Lamentation," especially
if that title referred to the taking of Limerick in 1649, we should think it
very unlikely that James's army would march to the "Lamentation," when
it was apparent that the town was held for him. In Alfred Moffat's
" Minstrelsy of Ireland," 1898, we find a footnote to the song " When cold
in the earth,'' in which he says, " Thomas Duffet's song ' Since Coelia's my
foe,' published in that author's ' New Poems,' London, 1676, is marked
' Song to the Irish tune.' There is no music in this work, but in the Lover's
Opera, 1730, we find the air designated ' Since Coelia's my foe ' to be the
tune claimed by the Irish as ' Limerick's Lament,' and by the Scotch
as ' Lochaber no more.' We may therefore fairly presume that as far back
as 1676, i.e, just fifty years prior to the appearance of Eamsay's ' Tea-Table
Miscellany,' vol. ii., in which ' Lochaber ' was first printed, the air was
known as an Irish Tune." This inference of Mr Moffat's we cannot
uphold ; for in the second volume of Eamsay's work, we find no title to his
song, but simply prefixed to it " A Song, To the tune, Lochaber no more,"
which air must have been known by that name before the publication of
his verses, otherwise his direction would have been useless. Until there is
actual evidence produced anterior to " The Lover's Opera," we cannot admit
that the Irish claim is well founded. The air in " The Lover's Opera "
merely proves that it could be sung to Duffet's song. It is after the
date of the Opera, 1730, that the tune first appears under the name of
" Limerick's Lamentation," or " Sarsfield's Lamentation." " Limerick's
Lamentation " and " Sarsfield's Lamentation " are given in " The Aria di
Camera" (the collection which Mr Moffat quotes) to totally different
tunes. Duffet's song, " Since Coelia's my foe," has been given to the
air of "Lochaber" in "The Lover's Opera," 1730, but is the tune to
be found under the title of Duffet's song at an earlier date ? Our opinion is
that " King James' March to Irland," which is found in both the Blaikie
and Leyden MSS, is the original or parent tune. It is contained in
Margaret Sinkler's MS. music book, 1710, as " King James' March," and
THE SCOTS MUSICAL MUSEUM.
89
it approaches nearer to " Lochaber " than either of the versions given by
Blaikie or Leyden. We differ from the opinions of Burns and Graham,
that the air of " Lord Eonald " was the parent of " Lochaber no more," for
the reason that there is no proof of the earlier existence in any form
whatever of " Lord Eonald," while we have ample .evidence of the existence
of " King James' March," " Eeeves Magot "— riayford's Dancing Master,
1701.
King James March to Ireland.
1632
r fi^ jJ %fJ j < fliJ J J jBfffTffrrJ"^ 1
Reeves Magot.
4v J i).J rr J r i fjjj.%Jjji f J i jjji Ji t ffff f
1701.
King James March.
Jp f | '<
£
1710.
fit P p*
£
j i jjjf r p;jj jJi^jj^ij jj j if rr cildj
, Lochaber no moke. 1730.
■ I'rrrfrJJIJfrr i rrrrrr i rJJ.lJ3lrr,,Jite
&m
gg5
C ffff f ju.ffffjf i mfrrrir fff -jj | r jj Af jujj i
rntitttfiJ rrr if i rt &rfnir i r JJ-i fliciftjj cjiJ J J j a
afri[% i J^fgrfrrffJJ | ,Jj: i ^ij^i r .[[IJ | j. i
96. THE MUCKING OF GEOEDIE'S BYAE.
This excellent tune is contained in the Orpheus Caledonius, 1725, under
the title of " My Dady's a delver of Dykes." In the Tea-Table Miscellany,
Allan Eamsay has a song called " Slighted Nancy," of which " My dady's a
delver of dikes " is the commencement of the second verse. He directed it
to be sung to the tune of " The Kirk wad let me be." Stenhouse tells us
"Eamsay wrote an introductory stanza to this old song, beginning, "'Tis I
have seven new gowns " ; and in place of the last stanza, which he has
suppressed, he added two of his own, beginning, "When I was at my
first prayers." He adds, " The editor of the Orpheus Caledonius, how-
ever, adhered to the words and tune of the old song," etc. Stenhouse
90 EAELY SCOTTISH MELODIES.
omits to say where he finds the old song except in Thomson's Orpheus.
As he is so unreliable, we suspect both the words and tune were new. He
further says, " The tune appears in Mrs Crockat's Book in 1709, under the
title of 'The three good fellows,'" a statement which may or may not
be correct. We have not had an opportunity of seeing that manuscript.
The melody afterwards received the name of " The Mucking of Geordy's
Byar," and was published as such in 1742.
97. BIDE YE YET.
This lively tune is not noticed by Stenhouse, but to the song itself
he refers, as appearing for the first time in David Herd's Ancient and
Modern Scottish Songs. The author is unknown. So far, we have not
discovered the words prior to this source. Bobert Chambers, in " Songs
Prior to Burns, states," " We are indebted to Johnson for giving us the
air," and J. M. Wood in his note in the Balmoral Edition of "The
Popular Songs and Melodies of Scotland," 1887, says, "The song first
appeared in Herd's Collection (1776), and with its tune in Johnson's
Museum (1787). Both these statements are incorrect, as the song
" Bide ye yet," along with the melody, is contained in " The Musical
Miscellany : a Select Collection of Scots, English, and Irish Songs set to
Music. Perth, printed by J. Brown, MDCCLXXXVI."
98. THE JOYFUL WIDOWER.
Tune, — " Maggie Laudek." See English Claims, page 49.
In Allan Cunningham's edition of Bobert Burns's works, we find the
following note regarding this song : " The old Scottish lyri& bards loved to
sing of the sorrows of wedlock and the raptures of single blessedness.
' The Auld Guidman ' is an admirable specimen of matrimonial infelicity ;
it forms a sort of rustic drama, and the pair scold verse and verse about.
Burns when he wrote ' The Joyful Widower ' thought on the strains of his
elder brethern, and equalled if he did not surpass them. It was first
printed in the Musical Museum." It is disputed whether or not the song
was written by Burns at all. Cunningham's statement is not in the least
convincing, but, if it can be proved, it must have been one of Burns's
earliest productions. At all events, those who ascribe the song to him have
a hard nut to crack, as we are able to prove its existence in an Edinburgh
publication* seven years before the appearance of the Kilmarnock Burns of
1786; and surely his poetic genius had not gone so far at that date. It was,
therefore, not first printed in the " Scots Musical Museum," 1787. In the
* "The Scots Nightingale," Edinburgh, 1779.
THE SCOTS MUSICAL MUSEUM. 91
first volume of that work (1787) Burns is credited only with " Green Grows
the Bashes," and it is not till the completed issue of 1804 that his name is
attached to " Young Peggy blooms our boniest lass."
99. BONIE DUNDEE.
See English Claims, page 45.
VOLUME II.
101. WHEN GUILDFOED GOOD OUE PILOT STOOD.
Tune — "M. Fkeicedan."
Stenhouse says, " The Gaelic air, to which this song is set, was com-
posed, it is said, by the pipe-major of the old Highland regiment about the
period when it was first embodied under the appellation of An freiceadan
dubh, or ' The Black Watch.' " We are afraid the above claim is ground-
less, for the following reasons. We doubt whether there were pipers or
pipe-majors in the army who could read music notation before the first or
second decade of the present century, and but few could do so as late as
1850. They learned to play their instrument entirely by ear. The tune
is contained in D. Dow's " Ancient Scots Music," called " The Highland
Watch," and under the name of The Earl of Glencairn's (Strathspey) in
Alexander M'Glashan's " Collection of Strathspey Keels," 1780. Dow is
about the same date. Burns selected it for his song, probably in compli-
ment to his patron, from M'Glashan's collection. If the tune is given in its
original form in the Museum, or in either of the two collections mentioned,
it could not be played on the bagpipe, as the scale of that instrument is too
limited. It is, however, quite reasonable to suppose that some pipe-
major adapted the air to the bagpipe, as it is played in an altered form
by pipers.
102. TEANENT MUIE.
All that is said by Stenhouse about this tune is stated in a few words.
" This ballad, beginning, ' The Chevalier being void of fear,' is adapted to
the old tune of Gillicrankie." The tune called Gillicrankie or the " Battle
of Killiecranky " is not found in any of our old printed collections before
the third book of Oswald's Caledonian Pocket Companion (1751), and
M'Gibbon's third collection, 1755. It is, however, said to be contained in
a small manuscript which at one time belonged to D. Laing, dated 1694,
but we have not had an opportunity of seeing it. In another manuscript of
the same date, known by the name of the " Atkinson," it goes under the title
92 EARLY SCOTTISH MELODIES.
of the " Irish Gilchranky," and is a version of the air printed in the Museum.
The song appeared in "The Charmer," Edinburgh, 1751.
103. TO THE WEAVER'S GIN YE GO.
The tune to this song is called " The "Weaver's March," and is contained
in the second volume of James Aird's " Selection of Scotch, English, Irish,
and Foreign Airs," 1782, under the same title as the song.
104. STREPHON AND LYDIA.
Time — "The Gokdons has the guiding o't.
"We have failed to discover this tune in any collection whatever before
the publication of the Museum, therefore we do not venture to say any-
thing about its age. "We may remark of the tune that the second strain
differs very little from the first one.
105. ON A ROCK BY SEAS SURROUNDED.
Tune — "Ianthy the Lovely."
In the Museum the tune has been misnamed; it is not "Ianthy the
lovely," which we have already noticed. Both the melody and song are
said to be the composition of Dr Beattie of Aberdeen, from whom
Johnson received them. At any rate, neither are to be found earlier than
the Museum.
106. WHISTLE AN I'LL COME TO YOU, MY LAD.
It is said by Stenhouse, " This air has generally been considered of Irish
origin, because it was adapted to a song written by John O'Keefe, Esq., in
his comic opera of the ' Poor Soldier,' which was first acted at Covent Garden
in 1783." Stenhouse adds, " But the tune was composed by the late John
Bruce, an excellent fiddle-player in Dumfries, upwards of thirty years
before that period." Burns says, " This I know, Bruce, who was an honest
man, though a red-wud Highlander, constantly claimed it, and by all the
old musical people here (viz. Dumfries) he is believed to be the author of
it." (Cromek's " Reliques.") The air was known to Burns before he went
to Ellisland, as the second volume of the Museum was issued in April
1788. John Mayne, the author of " The Siller Gun," who was born in
Dumfries, but left that town when twenty years of age, says, " Bruce never
was known as a composer of music," while Burns, who in riper years lived
THE SCOTS MUSICAL MUSEUM. 93
in Dumfries, affirms the melody to have been his composition. As the
tune is said to have been a favourite with Burns, he is more likely to be
correct. R. A. Smith in his " Irish Minstrel " claims it for Ireland, under the
name of " Noble Sir Arthur," to which he supplies Burns's song. This we
consider mere assertion, for he does not produce the least evidence.
107. I'M O'EE YOUNG TO MARRY YET.
The air to this song is known by the same name. It is a dance tune,
and was originally published as such in Bremner's Collection of Scots Reels
or Country Dances, 1758. Stenhouse gives what he calls a specimen of
the old words, but as he does not refer to any source, we suspect they were
written by some wit about his own time. Such lines were common in
the first half of this century. Another song on the same subject, having
the identical chorus, written at a later date, became very popular about
sixty years ago. It was sung to an adaptation of " The Braes of Balquidder,"
and not to the air in the Museum.
108. HAMILLA.
Tune — "The Bonniest Lass in a' the Waeld."
The air to this song is the above-named tune, which is prefixed to it in
the first volume of Allan Ramsay's Tea-Table Miscellany, 1724. The tune
itself is included in the Music for the Scots Songs in that work, circa 1726.
Stenhouse says, "Both the words and the music are in the Orpheus
Caledonius, 1725," but that is simply another of his blunders, it appears
only in the second volume of 1733. There is no doubt that the tune was
an old one, selected by the author of the song, and was known as what is
called a Scots Measure.
109. LOVE IS THE CAUSE OE MY MOURNING.
The melody is known by the above title. The song appears in Allan
Ramsay's Tea-Table Miscellany, 1724, with the letter X attached, to denote
that the author was unknown. The tune, along with the words, is con-
tained in the Orpheus Caledonius of 1725, and the tune alone in the Music
for the Scots Songs in the Tea-Table Miscellany, circa 1726. The melody
is considerably older than 1724. An excellent version of it is given
in Henry Hayford's Original Scotch Tunes, 1700. It is also included in a
manuscript flute-book, which belonged to a William Graham, dated 1694,
which passed from David Laing into "William Chappell's possession.
94 EAELY SCOTTISH MELODIES.
110. BONNIE MAY.
We have not discovered the tune of this song in any collection prior to
the Scots Musical Museum. The song is said to have been rescued from
oblivion by old David Herd, and is inserted in his Ancient and Modern
Scottish Songs. Though Stenhouse says, '' Both the air and words of this
ballad are unquestionably ancient," his reasons for thinking so are not at
all conclusive. He states, " The music, it will be observed, consists of one
strain only, which is in the minor mode, and the sixth of the key is alto-
gether omitted. These are strong proofs of its antiquity." The tune is a
good one, but we demur to his proofs of age; it may be merely an imitation
of our old style, and there is nothing in the words to suggest antiquity.
111. MY JO JANET.
This tune is very ancient, it is contained in the Straloch, the Skene, and
the Leyden manuscripts. All the versions in. these collections are very
primitive, but are certainly the early forms of the air, which can be traced
into the Orpheus Caledonius, and down to the present time. The tune has
no peculiarities, such as the absence of this or that interval of the scale, to
which some individuals attach great weight as evidence of antiquity, and
it may be observed that the music is written for a stringed instrument,
the lute, a species of guitar, possessing a complete scale.
Stenhouse is wrong in saying that the tune is " The Keiking Glass " in
the Skene manuscript, instead of " Long E'r onie old man."
112. HE WHO PEESUM'D TO GUIDE THE SUN.
Tune — "The Maid's Complaint."
This melody James Oswald published in his Curious Collection of Scots
Tunes, 1740. In that volume he did not put his name to it, nor did he do
so in the Caledonian Pocket Companion, book iv., but in the Index to the
latter he added an asterisk to denote that it was his composition. The
collection of 1740 was issued by him before leaving Edinburgh. The tune
is somewhat altered in the Museum. It is one of Oswald's best Scots Airs.
113. THE BIEKS OF ABEEFELDY.
Tune — ''Bieks of Abergeldie."
" This fine old tune," Stenhouse says, " appears in Playford's Dancing-
Master, first printed, in 1657, under the title of a 'A Scotch Ayre.'" In
THE SCOTS MUSICAL MUSEUM. 95
quoting from the Dancing-Master he is usually at fault, and in this instance
we may mention that the first edition of Playford's Dancing-Master was
printed in 1651, and that " The Scotch Ayre " does not appear in any of
the editions before 1690. It was published later by Henry. Playford
in his "Original Scotch Tunes," London, 1700, under the title of "The
Berks of Abergelde."
114. M'PHEKSON'S FAEEWELL.
Under the ballad of this name we are treated to a long notice of the
freebooter, and of the romance of his composing the melody in prison, and
of playing it on the violin under the gallows tree. Stenhouse tells us of
" another ballad composed upon the execution of this robber long before
Burns was born," yet he states nothing more about it than that it is
preserved in Herd's Collection, and makes no mention whatever of the air.
The first appearance of the tune in print, under the title of " M'Pherson's
Farewell," is in Oswald's " Caledonian Pocket Companion," book vii., page
14, published about 1755, ten years or more previous to the publication of
the ballad in Herd's collection. The melody is included in Margaret
Sinkler's Manuscript, 1710, entitled, " M'farsance's testment." We cannot
say whether it was or was not the composition of M'Pherson, but we dis-
believe in his performance at the gallows.
115. THE LOWLANDS OF HOLLAND.
Stenhouse states, " This ballad, the editor is informed, was composed
about the beginning of last century, by a young widow in Galloway whose
husband was drowned on a voyage to Holland. . . . Herd published a
fragment of this ballad in his Collection in 1769. In Oswald's second
book, printed about the year 1740, there is a tune apparently of English
origin, to the same dirge, which Bitson adapted to that part of the ballad
taken from Herd's copy ; but the tune is very indifferent. The air in the
Museum is the genuine one. The ballad is constantly sung to this Lowland
melody, and it is inserted with the same title in an old MS. music-book
which belonged to Mr Bremner, formerly music-seller in Edinburgh. It
was from this air that the late Mr William Marshall, butler to the Duke
of Gordon, formed the tune called ' Miss Admiral Gordon's Strathspey,'
principally by adding a second part to the old air." We shall leave out
of consideration what Stenhouse was informed with regard to the ballad,
and shall draw attention solely to the air, which we briefly referred to in
the First Volume of the " Glen Collection of Scottish Dance Music." The
air printed by Oswald appeared in 1742, and to it he affixed the name
of " Eizo " as composer, but this air is entirely different from the one now
under notice. Stenhouse's assertion about Mr Bremner's MS. music-book
96 EARLY SCOTTISH MELODIES.
is of no value whatever. Marshall published his strathspey eight years
before Bremner's death, and the latter had an opportunity of putting it in
his MS. music-book as " The Lowlands of Holland/' for it appeared in the
" Museum " under that name more than twelve months before he died*
We distinctly affirm that, instead of Marshall taking "Miss Admiral
Gordon's Strathspey" from "The Lowlands of Holland," the reverse
is the case. G. F. Graham, the editor of Wood's "Songs of Scotland,"
and J. M. Wood, who issued a later edition, have both erred in their
observation that, " the late Mr William Marshall, butler to the Duke
of Gordon, borrowed his highly popular tune, 'Miss Admiral Gordon's
Strathspey,' from ' The Lowlands of Holland,' as given by Johnson and
Urbani." Could Marshall in 1781 have borrowed from volumes that did not
then exist ? — Johnson, May 1788, and Urbani, April 1794. Our impression
is that Stenhouse derived his information from Nathaniel Gow, who was
guilty of renaming the tunes of other musicians, and in some cases, with
slight alteration, appropriating them as his own compositions. Examine, for
instance, " Major Graham," and " Sir John Whitefoordes Strathspey," both
in Gow's Eirst Collection (1784), where they appear without any claim
to them till the issue of the second edition (1801), when Kiel's name is
attached to the former, and Nathaniel's to the latter, and then compare
them with " Miss Admiral Gordon's Strathspey." We suspect that
Marshall's tune was adapted by Nathaniel Gow or Urbani to suit the
words of " The Lowlands of Holland." Stenhouse is therefore to blame for
publishing if not inventing this groundless assertion, and his notes
Marshall had no chance of answering, for they were not published till
1839.f There are individuals who trade upon tradition, and some
of them have asserted that the tune given by Johnson and Urbani is
modelled upon the air in the Skene Manuscript, " My love shoe winns not
her away," while others give " Alace I lie my alone I'm like to die awld,"
which is also in that manuscript. Such persons would assign every air to
a remote antiquity, and deny to composers of the eighteenth century
any ability whatever. Some even go the length of saying that the
latter air in the Skene MS. had been floating down from the time it was
written, and that Marshall constructed his strathspey from it. Such an
idea is quite absurd, and even if the assertion were true, some musician
would doubtless have grasped the original air before 1781. Mr Alfred
Moffat in his "Minstrelsy of Scotland," page 217, states that Mr John
Glen, in his Collection of Scottish Dance Music, 1891, " does not prove
that Marshall was unacquainted with the air prior to its being published
by Johnson ; and certainly the structure of ' The Lowlands of Holland '
is distinctly older than that of Marshall's tune." We entirely disagree
with Mr Moffat. His negatives do not prove an affirmative. He should
have mentioned some earlier source than Marshall's own publication (1781)
* Robert Bremner died May 1789. f William Marshall died May 1833,
THE SCOTS MUSICAL MUSEUM. 97
from which he could have taken the air, instead of supposing that it had
been drifting down from the sixteenth or seventeenth century, and suggest-
ing that Marshall became acquainted with it. As to structure, the air
is not that of " Alace I lie my alone I'm like to die awld," though it has some
resemblance to it. Eitson, 1794, who gives the ballad from Herd's copy,
which Stenhouse characterises as a fragment without stating where it is
found earlier, does not consider the tune given by Johnson to be the
original, otherwise he would have adopted it instead of that taken from
Oswald, which Stenhouse says " is apparently of English origin." The air
found in Oswald is evidently " My Love Shoe winns not her away," in
the Skene MSS., and it was probably the original tune united to the words
of " The Lowlands of Holland."
Captain Simon Fraser's allegation, that it is a Highland air to which he
gives a Gaelic name, is of no account.
We will give the tunes from the " Skene " in juxtaposition with that of
Marshall, so that our readers can make their own observations. We may
state that some resemblance exists in the first named to Marshall's tune,
but it concludes somewhat like " The British Grenadiers," which, it may as
well be affirmed, has been taken from the same source. Again, at the time
when Marshall wrote his strathspey, was it probable that he had ever
seen or heard of the Skene MSS. ? These MSS., we are informed by Wm.
Dauney, are the property of the Faculty of Advocates at Edinburgh. The
collection, he states, " was bequeathed to that learned body about twenty
years ago (i.e. 1818) by the late Miss Elizabeth Skene, the last surviving
member in a direct line of the family of Skene of Curriehill and Hallyards
in Midlothian." Having said so much on the subject of the origin of the
" Lowlands of Holland," we would put this question and offer the succeeding
remarks : —
(1) Was Stenhouse honest in the notes he supplied in reference
to the AIES in Johnson's " Scots Musical Museum " ? If so, he must have
derived a good deal of information from third parties, without taking
any trouble to verify it.
(2) When quoting from Playford's " Dancing Master," Stenhouse must
have employed only a late edition, probably the eighteenth, and supposed
its contents to be the same as those of the first edition.
(3) In regard to the "Orpheus Caledonius," Stenhouse must have
thought that the edition of 1725 was identical with that of 1733, whereas
the earlier one contained only the fifty songs which appeared in the first
volume of 1733.
(4) Stenhouse's dates of Oswald's works, and even his descriptions of
them, are not at all trustworthy.
(5) We suspect that if his work was done with an honest intention
Stenhouse was played upon by some unscrupulous person.
Owing to the many blunders in Stenhouse's "Illustrations," we look on all
his notes with suspicion. If these notes have not been tampered with, he
G
98
EARLY SCOTTISH MELODIES.
displays either ignorance or enmity when, under " The Lowlands of
Holland," he refers to the late Mr William Marshall, butler to the Duke
of Gordon, and repeats the word in his note No. 201, " Tune your Fiddles,"
but in note No. 235, " I love my Jean," omits it.* In the short
biographical sketch of Marshall given in the Additional Notes to the
Illustrations, pp. 413*-416* William Marshall is shewn in a quite different
light from that in which he is represented by Stenhouse, who apparently
AlACE I LIE MY ALON I'M LIK, TO DIE AWLD.
i ffiTTr-fyr'- '-t'-Tii'-HBrr'- 'i l W- # TfrrMW'-lfriinfir'-'rH ftl
TiisB Ahmiial Gordon's Steathspey.
8 (ghfe-fJJJJ'J.JjJ ^l^^ i ™^]^^^If^"^^TF'f: ! ^^™ ;ll; J^^^/ * * 1
The Lowlands of Holland. VJ97.
3 S^j;^:^d^^3^:*:^fffl:^g^d5:^E^^^ati=|
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u
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Mv Love Shoe wihns hot heh away.
f a .si
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„ The Low Lauds of Holamd. 1742."
f ri'r^Qg Wt% arir n ujf i fttfrtritrt ^
mm
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r^fli, u J trUJ J crir u^H
ft'i-Wrtmrirtfff hr^iijaj f J J U.Jq[fl% ^
knew nothing of Marshall's character or position. James Davie of
Aberdeen, who edited the work known as " Davie's Caledonian Repository,"
says of Marshall—" There is a very old tune called ' Grey day light,' so
very like ' Craigellachie Bridge ' as its ground that, had the latter been
the composition of one of less respectability than Mr Marshall, the charge
of plagiarism might have been brought against him with some reason ; but
we believe him to have been far above such expedients — we can only
wonder at the coincidence." See also " The Glen Collection," volume ii.,
for a sketch of William Marshall.
* William Stenhouse died November 1827.
THE SCOTS MUSICAL MUSEUM. 99
We think it is time for Marshall's detractors to produce the tune as
given in the Museum at an earlier date than 1781, and to answer our
arguments, rather than attempt to deprive him of the merit of his
compositions.
116. THE MAID OF SELMA.
The many conjectures of Stenhouse concerning the melody of "this
prosaic song," as he terms it, may be summed up as follows : — The air
commences in the same strain as the old tune of "Todlin Hame," and
continues with what may be described as something like variations on that
melody. The tune, if it may be called one, appears never to have been
popular. It first appeared in Neil Stewart's " Collection of Scots Songs,"
1772, and afterwards in Corri's Collection of the most Favourite Scots
Songs, 1783, finally disappearing, so far as we know, with the copy in the
Museum.
. 117. THE HIGHLAND LASSIE 0.
The tune to which this song is adapted, Stenhouse says, is the old
dancing tune called " M'Lauchlin's Scots Measure." Whether the proper
name of the Scots Measure is that given by M'Gibbon in 1755, or M'G-lashan
in 1781, it seems to be well known as M'Lachlan's. The tune, however, is
much older than these collections, and must have figured in the seventeenth
century, as it was published by Henry Playford in his Collection of Ori-
ginal Scotch Tunes, 1700. It is the first tune there, and is called " Mr
M'Laine's Scotch-measure;" the next is named "Mr M'Clanklaine's
Scotch-measure ; " probably the titles were transposed by mistake, though
we cannot tell. The tune is almost note for note the same as that in the
Museum.
118. THE NORTHERN LASS.
Stenhouse informs us that, " The air of the ' Northern Lass ' appears in
Oswald's first book, page 5, which was published about the year 1740. The
tune is pretty enough, but we rather think it is an imitation of our style,
and not a genuine Scottish air." He says also, " The original words began,
' Come take your glass, the Northern Lass,' and another tune to the same
words was written by Mr William Fisher, and published in the first
volume of the Calliope, 1739." The " first book " which Stenhouse refers
to is the Caledonian Pocket Companion, which was not published before
1743, but Oswald published the tune in his Curious Collection of Scots
Tunes, 1740, page 2. We are of the same opinion about the air as Sten-
house, and do not regard it as of Scottish origin.
100 EAELY SCOTTISH MELODIES.
119. THE SONG OF SELMA.
We know of no earlier source for the melody to which this song is
adapted than Neil Stewart's Thirty Scots Songs, book iii., page 30,
published in 1781. Stenhouse says, " This wild and characteristic melody
is said to be the composition of Oswald. It was published along with the
words, which are selected from Ossian's 'Songs of Selma,' in 1762." If
Oswald composed the tune we are unable to find it in any of his works
120. FIFE, AND A THE LANDS ABOUT IT.
This tune is said to be included in an old Virginal Book which Stenhouse
possessed, " under the title of ' Let Jamie's Lad alane,' which was probably
the original title." He adds, " Mr Samuel Akeroyde put a bass to it.'
Our opinion is that it was entirely composed by Akeroyde. The tune is a
wretched imitation of a Scottish melody, and the original words of the
song are exceedingly vulgar and indecent. We have no doubt about Sten-
house's old Virginal Book, but he probably over-estimated its age.
121. WEEE NA MY HEART LIGHT, I WAD DIE.
The melody to this song is of a light, jaunty character ; it is neverthe-
less very well suited for the words. We are not aware that it is to be
found in any collection prior to the Orpheus Caledonius of 1725. The
tune appears to be an early one, and would certainly be considered ancient
by those who judge by the omission of intervals. The words of the song
are in The Tea-Table Miscellany, but not in 1724, as stated by Stenhouse,
they are contained in the fourth volume, 1740.
122. THE YELLOW-HAIE'D LADDIE.
We have not been able to discover this tune before its appearance in the
Orpheus Caledonius, 1725. Stenhouse, however, says it appears in Mrs
Crockat's Music Book, written in 1709. John Muir Wood, in his " Bal-
moral Edition" of the "Popular Songs and Melodies of Scotland," says,
that " Mr Chappell points out that ' The countryman's care in choosing a
wife,' is to be sung to the tune of ' I'll have one I love,' or ' The Yellow-
Haired Laddie/ and that as Brooksby, who printed the broadside, dates
from 1672 to 1695, we have here a proof of the air having been popularly
known in England long before it is claimed for Scotland." All that we get
from this statement is that a iune existed, called "The Yellow-Haired
Laddie," but there is no proof that it was not known in Scotland, and
THE SCOTS MUSICAL MUSEUM. 101
though Brooksby flourished between 1672 and 1695, we have no evidence
of the date of the broadside, nor have we got a copy of the melody as
known at that time. " The Auld Yellow-Haired Laddie " in the Tea-
Table Miscellany only indicates that the words of that song were older than
the one Eamsay wrote himself. We are of opinion that the air is a com-
position of about the end of the seventeenth century. In manuscript notes
that belonged to J. Muir Wood, in our possession, we find, — " This can't be
Scotch : see the sharp seventh. — W. Chappell." This is sheer absurdity —
and would imply that it was impossible for Scots people to use this interval.
We may mention that the flat seventh is mostly confined to minor keys,
whereas "The Yellow-Haired Laddie" is in the major mode. The tune
appears in nearly every collection of Scottish music printed after the
Orpheus Caledonius. Ramsay published his song in 1720.
123. THE MILLER
According to Stenhouse, — "This song, with the exception of the first
verse, which is said to belong to a much older song, was written by Sir
John Clerk of Pennycuik ; and was published in Yair's Collection of Songs,
called ' The Charmer,' vol. ii., 1751." The melody does not appear in any
collection known to us before the Museum, and it is our belief that such a
good tune would not have escaped either the musician or compiler if current
much before 1788. We conclude that its age is not earlier than the middle
of last century. It is now sung to the song " Mary Morison."
124. WAP AT THE WIDOW, MY LADDIE.
This good old tune, we are informed, belonged to a song so indelicate
that Ramsay remodelled it, retaining the wit of the original words, and re-
jecting all offensive expressions. Stenhouse tells us that it was printed by
Thomson in his Orpheus Caledonius, in 1725. This, however, is another
of his mis-statements, as it did not appear till the second volume was
published in 1733. The age of the tune is not in the least affected by his
reference. Henry Playford included it in his " Original Scotch Tunes,"
1700, under the title of " Wappat the Widow, my Lady," and it is also con-
tained in William Graham's Manuscript book for the Flute, 1694.
125. BRAW, BRAW LADS OF GALLA WATER.
We are told by Stenhouse, — " This charming pastoral air, which consists
of one single strain, terminating on the fifth of the key in the major mode,
is very ancient." Referring to its antiquity, he states, — " A very indifferent
set of the tune, under the title of ' The brave Lads of Gala Water,' with
102 EAELY SCOTTISH MELODIES.
variations by Oswald, appears in his Pocket Companion, book viii. That
in the Museum is genuine." Oswald's version, though not so vocal as that
in the Museum, is not so very indifferent, and it is our earliest authority,
but the tune itself may be older. The air occurs in Neil Stewart's Thirty
Scots Songs for a voice and Harpsichord, under the name of "Coming thro'
the Broom," nearly note for note with the Museum, or as now sung.
Stewart's collection was published in 1772, Oswald's in 1756.
126. THE YOUNG MAN'S DEEAM.
The melody to which this song is adapted was probably a composition
of the time when Tytler wrote the words. The first strain of the air is
very simple, it has a two-bars rhythm, which is repeated four times.
The second strain is much more melodious, with its four-bar measure
repeated in an altered form. It is a rather pleasant air, but we should
think it tedious for the listener when sung to the seven verses of the
song.
127. 0, MITHER DEAR.
Tune — "Jenny dang the Weaver."
We have no knowledge of the appearance of this tune in any printed
collection before the second edition of the Orpheus Caledonius, 1733.
Stenhouse, with his usual inaccuracy, states, — "Thomson published the
song, with Ramsay's additions, in his Orpheus Caledonius, in 1725."
Our opinion is that, as a dance tune, it is of an earlier date; but we have no
collection of dance tunes printed so early as 1733.
128. BESSY BELL, AND MARY GRAY.
Whether Allan Ramsay wrote the whole of this song, or only eked out
a fragment of an old one with some verses of his own, we shall not stop to
inquire. The melody, however, we have been able to trace in a printed
form to Henry Playford's Original Scotch Tunes, 1700, under the title of
" Bess Bell." C. K. Sharpe says that the incident on which the song is
founded occurred as far back as 1645. In the Guthrie tablature MS. book
we have already alluded to, we find " Bessy Bell " prefixed to what may be
an accompaniment for an instrument. Ramsay's song was published in
1720, and the air appears in " Musick for the Scots Songs in the Tea-
Table Miscellany."
THE SCOTS MUSICAL MUSEUM. 103
129. STAY, MY CHAEMEE, CAN YOU LEAVE ME?
Tune — "An Gille dubh ciae dhubh."
The words of this song were written hy Burns, and it is said in Allan
Cunningham's edition of Burns's Songs and Ballads, that " he picked up the
air in the north." We are doubtful about this statement, for we know
that the Eev. Patrick M'Donald included the tune in his Collection of
Highland Vocal Airs, etc., which he published in 1784, — more than three
years previous to Burns's first Highland tour. Stenhouse must have been
ignorant of M'Donald's Collection, for he never alludes to it ; but he in-
veighs against Capt. Fraser's publication of 1816. The melody is No. 142
in M'Donald's book.
130. LADY BOTHWELL'S LAMENT.
This is a very beautiful lullaby. Stenhouse says, " it appears in Wat-
son's first Collection, printed at Edinburgh in 1711. This ballad, with the
music, was afterwards published by Thomson in his Orpheus Caledonius in
1725, from whence it was copied into Johnson's Museum." This is all
wrong; it does not appear in the Orpheus Caledonius till the second
edition, issued in 1733. We find it again in Oswald's Caledonian Pocket
Companion, book i., circa 1745; but it does not occur in any of our Scottish
Music Collections from that date till 1788, when it is inserted in the
Museum. Allan Eamsay published the ballad in the second volume of his
Tea-Table Miscellany, and in the index he placed the letter X to denote
that the author was unknown. Literary and antiquarian authorities
disagree as to the persons who are implicated in the incidents mentioned in
the song.
131. WOE'S MY HEAET THAT WE SHOU'D SUNDEE.
" This tune," Stenhouse says, " occurs in Skene's MSS., written prior to
1598, under the title, ' Al#ce this night yat we suld sinder ' ; and it is
clear that it was a well-known song in Scotland during the reign of James
the Sixth." We agree with Stenhouse that the tune in the Skene MSS., to
which he refers (notwithstanding G. F. Graham's statement in the Songs
of Scotland), is the early form of the present one ; and that " To dance
about the Bailzeis Dubb," contributes merely two bar measures to the first,
and two aud a half bar measures to the second strain, of the entire air.
Stenhouse, however, overrates the age of the Skene MSS., and he draws
upon his imagination in saying that it was a well-known song in the reign
of James the Sixth. A very good version of the air, called " Always my
104
EAELY SCOTTISH MELODIES.
Heart that we man sunder," is contained in Henry Playford's Original
Scotch Tunes, 1700. The words of both songs in the Museum are by
Allan Eamsay ; the latter was sung by Peggy, in " The Gentle Shepherd."
A WAYS MY HEART THAT WE MUH SUNDEB.
1700.
hrr cctf i fft iiU Bf^ tff i jjjiJijJi^ir^J i ^
The note with the asterisk under it is G in Playford, evidently an error.
132. STRATHALLAN'S LAMENT.
The words of this song were written by Eobert Burns. The air is the
composition of Allan Masterton, teacher of writing at the High School of
Edinburgh ; an intimate friend and crony of the poet. He was the Allan
of the song, " Willie brew'd a peck o' maut."
133. WHAT WILL I DO GIN MY HOGGIE DIE?
The melody of this song is said, in Cromek's Eeliques, to have been
acquired in the following way. Dr Walker, who was minister at Moffat in
1772, and is now (1791) Professor of Natural History in the University of
Edinburgh, told Mrs Eiddel the following anecdote concerning this air.
He said that some gentlemen, riding a few years ago through Liddesdale,
stopped at a hamlet consisting of a few houses, called Mosspaul, when they
were struck with this tune, which an old woman, spinning on a rock
(distaff) at her door, was singing. All she could tell concerning it was,
that she was taught it when a child, and it was called, " What will I do
gin my Hoggie die ? " No person, except a few females at Mosspaul, knew
this fine old tune, which in all probability would have been lost had not
one of the gentlemen, who happened to have a flute with him, taken it
down. Stenhouse says, " The gentleman who took down the tune was the
late Mr Stephen Clarke, organist, Edinburgh ; but he had no occasion for a
flute to assist him, as stated by Dr Walker." The preceding story reads
exceedingly well, but is quite superfluous, for the tune was published by
Alexander M'Glashan in his " Collection of Scots Measures," 1781, as,
" What will I do ann my Hoggy die," and about the same date in Alexander
Reinagle's Collection, under the name of " Moss Plate."
134. THE CAELE HE CAME O'EE THE CEAFT.
We have not discovered this tune in any collection prior to the Orpheus
THE SCOTS MUSICAL MUSEUM. 105
Caledonius of 1725. It appears to be an old dance tune of the Strathspey
class, and probably was a Bagpipe composition, as it is entirely of that
character.
135. GAE TO THE KY WI ME JOHNNY.
Stenhouse claims this as a very old song, because he had been told by
a respectable lady who was born in 1738, that it was so reckoned even
in her infancy. He mentions also that Burns slightly touched the fragment
of the ancient song, as contained in Herd's second volume, 1776. Of the
melody he makes no mention whatever. Whether the song is ancient or
not, we do not find the tune prior to its publication in D. Dow's " Ancient
Scots Music," circa 1775, entitled, " Gae to the Ky wi me Johnnie." We
take it to be a Border tune.
136. WHY HANGS THAT CLOUD ?
Tune—" Hallow Ev'n."
This is a good old melody. ' Stenhouse says, incorrectly, that it was
published by Thomson in his "Orpheus Caledonius" in 1725, whereas it did
not appear till 1733. The statement is of little moment, as the tune is
contained in the Music for the Scots Songs in the " Tea-Table Miscellany,"
circa 1726, besides being found in Henry Playford's Original Scotch Tunes,
1700. It also occurs in Margaret Sinkler's Manuscript " Music Book,"
1710, and it is said to be in the Leyden MS., 1692. The tune was origin-
ally a Scots measure.
137. WILLY WAS A WANTON WAG.
Stenhouse is wrong in stating that this air appeared in the Orpheus
Caledonius in 1725. It was not included in that work before 1733. The
melody, however, is older than either of these dates, as it is found under the
name of " Lady Streathelens Tune " in Agnes Hume's Manuscript Music
Book, 1704, a small volume belonging to the Library of the Faculty of
Advocates, Edinburgh. It is almost identical with the version now sung.
138. JUMPIN JOHN.
In our opinion this tune is not a Scottish one, though Stenhouse sup-
poses that it is. He says, " This old air appears in Oswald's Collection.
It seems clearly to be the progenitor of the well-known tune called
' Lillibulero,' which is claimed as the composition of Henry Purcell, who
106 EAELY SCOTTISH MELODIES.
died in 1695." From the character of the melody we are inclined to
consider it of English origin. It appears for the first time in Playford's
"Dancing Master "not earlier than 1686 as ''Joan's Placket," and as to its
being the progenitor of " Lillibulero," we think it very doubtful, though it
bears some resemblance to that tune. We may affirm, however, that it is
the parent air of the now popular bagpipe tune, " The Cock of the North."
The melody occurs in Oswald's Caledonian Pocket Companion, book ix.,
as "Jumping Joan," but that does not in the least prove Stenhouse's
contention, as Oswald's work contains several tunes that are not Scottish.
We think that Burns had nothing to do with the words given in the Museum.
139. HAP ME WI THY PETTICOAT.
This tune appears in the Orpheus Caledonius of 1725, also in the Music
for the Scots Songs in the Tea-Table Miscellany. The song is found in
the first volume of the Tea-Table Miscellany, and we presume it is one of
Ramsay's, as there is no letter attached to it. In some collections of music
the tune is greatly spoiled by so called embellishments, and in others it
is as plain as the version given by Stenhouse, The melody is much used
as a Strathspey tune, for which we think it was originally intended.
140. UP IN THE MORNING EARLY.
See English Claims, page 28.
141. THE TEARS OF SCOTLAND.
The words of this song are said to have been written by Tobias Smollett.
They depict the sorrows of Scotland after the Battle of Culloden, the out-
come of the dreadful cruelty and spoliation inflicted on the Highlands by
the Duke of Cumberland and his forces. The melody is a composition of
Oswald's, and published in the fourth book of his Caledonian Pocket
Companion. It is beautiful and pathetic, and well suited to the verses,
whether it was written for them or vice versa.
142. WHERE WINDING FORTH ADORNS THE VALE.
Tune — " CUMBERNAULD-HOUSE."
This song is from the pen of Robert Ferguson the Scottish Poet, who
died in 1774, and to whom Burns caused a stone to be erected in the
Canongate Churchyard, where he is buried. Stenhouse informs us, " That
the fine old air is inserted both in M'Gibbon's and Oswald's collections ;
THE SCOTS MUSICAL MUSEUM. 107
and the original song of Cumbernauld House has escaped every research of
the editor." We suppose Stenhouse knew nothing of Barsanti's collection
of 1742, in which it bears the title, " Lord Aboyne's Welcome ; " and pro-
bably Blaikie's MS. of 1692, where it goes under the name of My Lord
Aboyn's Ayre, was unknown when he wrote. It is also found in the fifth
edition of John Playford's Apollo's Banquet, 1687, called, The Duke of
Albany's Tune, see page 58, and is included in "Ancient Music of Ireland,"
1877, name unknown, page 46.
143. THE YOUNG HIGHLAND EOVEB.
Tune—" Moeag."
Stenhouse appears to have had some difficulty with this beautiful
Highland melody, as instead of informing us of any collection in which
it is found prior to the Museum, and so proving its antiquity, he proceeds
to Captain Fraser's collection of 1816. He tells us that "Morag" is the
Highland name for "Marion," and then he renews his attack on Fraser,
which, in this instance, is justly deserved. He says, "Fraser has corrupted
the melody by introducing the sharp seventh of the minor key twice instead
of the perfect fifth, and with embellishments quite uncalled for, that are
entirely foreign to the spirit of the air." Probably Stenhouse was not
aware that an excellent set of the tune is contained on the last page of
Daniel Dow's " Collection of Ancient Scots Music for the Violin, Harpsi-
chord, or German Flute, never before published," etc. This collection
appeared some eight or ten years before the Museum.
144. DUSTY MILLER
See English Claims, page 41.
145. THE WEDDING-DAY.
This tune we have not discovered in any collection before book v. of
Oswald's Caledonian Pocket Companion. It must, however, be consider-
ably earlier, as it is one of the airs in Eamsay's Pastoral of " The Gentle
Shepherd." The song to which it is adapted commences, " How shall I be
sad when a husband I hae," so it must have been well known to Allan
Eamsay at least a quarter of a century before it appeared in Oswald's
publication.
146. I DEEAM'D I LAY, Etc. .
The air to this early song by Burns has fairly puzzled us. We have no
knowledge where the poet obtained it, nor is it to be found in any of our
108
EARLY SCOTTISH MELODIES.
Scottish collections before its publication in the Museum. Stenhouse says
the melody was harmonised by Stephen Clarke, but we understand that
Clarke harmonised most of the tunes in the Museum. The nationality of
the air is doubtful, though we think it has something of an Irish character.
147. I, WHO AM SORE OPPRESSED WITH LOVE.
Tune — "Lovely Lass of Monokgon."
This is a melody taken from Oswald's Caledonian Pocket Companion,
book ix., page 20. We have no further knowledge of it, nor are we sure of
its nationality, though the air possesses some traits of Irish character.
Stenhouse says the verses are by Alexander Robertson of Struan, and " It
was published among his other poems at Edinburgh after the author's
decease," but we are not informed when the melody was selected for the
words.
148. A COCK LAIRD, FU' CADGIE.
We have not discovered the air of this song under the present or any
other title previous to its publication in the Orpheus Caledonius of 1725.
The song, especially in its original form, is much too gross for modern use,
though it was not considered unfit for singing in public or in the drawing-
room during the reign of George II. Allan Ramsay toned it down con-
siderably, and published it in his Tea-Table Miscellany. The tune does
not occur in any Scottish collection (excepting the second edition of the
Orpheus) between 1725 and 1742, when it appears in Oswald's Collection
of Curious Scots Tunes attributed to " Rizo."
149. DUNCAN DAVISON.
This tune is apparently an old dance or strathspey, formerly known
as " Yell ay be welcome back again." It is contained under that title in
Robert Bremner's " Collection of Scots Reels or Country Dances," 1759,
,. SlKICK UPON A StbOGIS.
i69a
also in John Walsh's Caledonian Country Dances, called, "You be wel-
come here again," which is of earlier date, but we are uncertain
when it was published, and we think Stenhouse overrates its age. In
THE SCOTS MUSICAL MUSEUM. 109
the Leyden MS., 1692, there is a tune named "Strick upon a Strogin,"
which is evidently the original from which " Duncan Davison " has heen
derived. Our opinion is that Burns wrote the song although he did not
acknowledge it, and we have not found any trace of prior words.
150. LOVE WILL FIND OUT THE WAY.
Stenhouse states, "Both the words and music of this ancient song
appear in Forbes' Cantus, printed at Aberdeen in 1662, again in 1666, and
lastly in 1682." He refers also to the tune as printed in the Museum, and
says, " The simple melody of this fine old song is scarce discernible amidst
the superfluous extravagance of modern embellishments." We cannot
admit that the tune he gives from the Cantus is the same as that printed
in the Museum, even though it were divested of the so-called embellish-
ments. We have no knowledge where Johnson obtained it, but neither his
air nor that in the Cantus is, in our opinion, Scottish.
151. AH! THE POOE SHEPHEED'S MOURNFUL FATE.
Tune — " GrALLASHIELS."
The tune to which the song in the Museum is adapted, is called in the
Orpheus Caledonius of 1725, " Sow'r Plumbs of Gallow Sheils." This is
the first collection in which the tune is printed, but it was followed shortly
afterwards by Adam Craig's " Collection of the Choicest Scots Tunes,"
Watt's Musical Miscellany, and other publications. Stenhouse says, " The
tune of Galashiels was composed about the beginning of last century, 1700,
by the Laird of Galashiels' piper." We shall not dispute the date, but we
doubt its composition by any piper, as the scale of his bagpipe is nine
notes only, and therefore the tune in any of its forms could not be played
by him on his instrument.
152. MY LOVE HAS FOESAKEN ME.
According to Stenhouse, "The words and music of this song were
furnished by Dr Blacklock for Johnson's Museum, about the close of 1787.
Allan Masterton copied both for the Doctor. The song possesses merit,
but some of the lines are a little deficient in measure, and the first part of
the tune appears to have been incorrectly taken down." As to
Stenhouse's remarks about the deficiency of the lines of the song,
and the incorrectness of the first strain of the tune, we express no
opinion, but we can say that the melody in the first part is ill suited to
the words.
110 EARLY SCOTTISH MELODIES.
153. MY LOV'D CELESTIA.
Tuner— "Benny Side."
This pleasant melody is contained in Oswald's Caledonian Pocket Com-
panion, book xii. ; also in Francis Peacock's Fifty Scotch Airs. In both of
these collections the name of the tune is spelled " Benney Side," and Pea-
cock adds, " a new Scotch air." We may conclude from this circumstance
that the tune was composed two or three years before 1762, the date of his
collection. Stenhouse states, "the editor has not been able to procure a
copy of the original song of Benny Side " : probably there was none, it be-
ing only a name for the air. The song in the Museum is said to be
written by Alexander Eobertson of Struan.
154. THRO' THE WOOD, LADDIE.
There are two songs to this tune in the Museum, the first, beginning, "0,
Sandy, why leaves thou thy Nelly to mourn ? " was written by Allan Ram-
say, and is contained in his Tea-Table Miscellany, 1724, page 44. Of the
second, Stenhouse says, Dr Blacklock communicated to Mr Johnson the
original verses to the air. They were probably his own instead of the
original verses. Of the melody, Stenhouse informs us, "It ought to
be observed here, that the old melody consisted only of one strain, and it is
so printed in Thomson's Orpheus Caledonius. The second strain, which is
only a repetition of the first, an octave higher, was added by Adam Craig in
1730," etc. We suspect Stenhouse never saw a copy of the Orpheus Cale-
donius of 1725, as that publication contains the two strains almost identi-
cal with the tune as given in the Museum. Our opinion is that the
air is English, without any Scottish character whatever. A song com-
mencing " Cam lend, lend y'are lugs, Joes," is directed to be sung to the
tune of " Through the Wood, Lady," in the first part of the Rump Collec-
tion of Songs, 1662, which we presume to be the same air. The Rump song
is in ridicule of the Scots army. Ramsay probably substituted " Laddie "
for " Lady." The melody must have been greatly in fashion to account for
its being included in most of the Scottish Collections published between
1725 and the Museum.
155. WHERE HELEN LIES.
There are many versions of both the words and music of this song. We
confine our remarks, however, to the tune. The first printed set we
have observed is in Francis Barsanti's Collection of Old Scots Tunes,
1742. It is a strange fact that neither Thomson, Ramsay, Craig, Oswald,
nor M'Gibbon have included it in their collections. It next appears
THE SCOTS MUSICAL MUSEUM.
Ill
in the edition of M'Gibbon's Scots Tunes, with additions by Eobert
Bremner, book iv., 1768 : it is one of Bremner's additions, and does not
turn up again till its insertion in the Scots Musical Museum. In a manu-
script volume written by the late John Muir Wood (which was kindly given
to the editor by his widow), we find five comparative sets of the melody,
viz., by Bremner (whom he calls M'Gibbon), Johnson, Napier, Kirkpatrick
Sharpe, and one he has heard sung in Boxburghshire. Of the last, he says
it is " substantially the same as that given by Stenhouse, but without his
drawl, and converts his faulty fifteen bars into correct rhythm of eight.
Napier is followed by Bitson (George) Thomson, and B. A. Smith. It has a
second part made from the first. It was probably brought into notice by
Pennant's Tour in Scotland, 1775." G. F. Graham and J. M. Wood knew
that the air was in the Blaikie MS., 1692, but neither has given a transla-
tion of it. We give the tune from that manuscript, which we consider to
be the original : it has a second strain, which may be sung or treated as a
Whebs Helen Lra ^ 1692.
variation. We may mention that Barsanti's and Bremner's versions of the
air are exactly alike. Charles Kirkpatrick Sharpe's tune, Stenhouse's faulty
version, and Johnson's, taken from the Scots Musical Museum, are in the
third volume of Wood's Songs of Scotland, edited by George Farquhar
Graham. All the printed sets are in three-four measure, except Sten-
house's Illustration, which is in two-four. Wood's manuscript tune is
identical with it, but changed into three-four measure. Stenhouse may be
corrected thus :
Kirk - con - uel lee.
156. THENIEL MENZIES' BONIE MAEY.
Tune — " Btjffian's Eakt."
Stenhouse declares, " This humorous song, as well as that which follows
it in the Museum, beginning, ' A' the lads of Thornie Bank,' were composed
by Burns towards the end of the year 1787." The fact is they were partly
written and partly improved by the poet, as the letter Z is prefixed to both
in Johnson's first edition of the Museum. Of the tune Stenhouse tells us
the songs "are adapted to the old tune called 'The Euffian's Bant,' which is
112 EAELY SCOTTISH MELODIES.
likewise the melody of Eoy's wife of Aldivalloch," and makes no further
remark. This air has been alluded to in The Popular Songs and Melodies
of Scotland, 1887, as "Cog na Sealan" in the Macfarland MS. (1740), and
in Angus Cumming's Collection, 1780 ; also in " The Minstrelsy of Scot-
land," 1895, as "The Euffian's Kant," which is the name in Bremner's
"Scots Eeels or Country Dances," 1759, and in other authorities. It
is reserved for us to mention that we have discovered it under the name
of " Lady Frances Weemys' Eeel " in Walsh's " 24 Country Dances for the
year 1742," printed in London, a small collection in our possession. We
may say that the date of the Mcfarlan MS. is conjectural. We have seen
another manuscript volume of Scots Tunes for the Violoncello written
by David Young in Aberdeen, about twenty years later, with the date
1760. The Mcfarlan MSS. were also by David Young.
157. THE BANKS OF THE DEVON.
Tune — "Bhannerach dhon na chri."
This Highland melody is not found in any collection of printed music
prior to the Museum. It has appeared in several publications since,
notably " Albyn's Anthology," and Captain Fraser's " Airs and Melodies
peculiar to the Highlands of Scotland and the Isles," both issued in 1816.
The set of the air given by Johnson, which Burns received from a lady in
Inverness, is infinitely better than that of Fraser, though the latter alleges
that the lady must have had access to the compilations of his progenitor
and Mr Fraser of Culduthel. Campbell gives a different version of the
melody, of less vocal compass and probably older, but he makes no boast
of its being the original, or hitherto unpublished.
158. WALY, WALY.
" Both the words and air of this song, beginning, ' 0, Waly Waly ! up
yon bank,' are very ancient." With these words Stenhouse begins his note
in the Illustrations. We take no notice of the many conjectures connected
with the words of the song. The air, judging from its construction, may
be considerably older than its first appearance in any printed collection,
although we possess no positive evidence. It is contained in the Orpheus
Caledonius, 1725 ; in Oswald's " Curious Collection of Scots Tunes,"
1740, and in nearly all the subsequent collections of Scottish Tunes, little
modified up to the present time, but purged of several so called graces or
embellishments.
159. THE SHEPHEED ADONIS.
Though Eamsay published this as an old song in the second volume of
his Tea-Table Miscellany, we suspect both words and music to be Anglo-
Scottish.
THE SCOTS MUSICAL MUSEUM. 113
160. DUNCAN GEAY.
Stenhouse says, " It is generally reported that this lively air was com-
posed by Duncan Gray, a carter or carman in Glasgow, about the beginning
of last century, and that the tune was taken down from his whistling it two
or three times to a musician in that city." "We are dubious of the state-
ment, especially the alleged era, for although the tune is rather a favourite
one, it did not appear in any collection before the third book of Oswald's
" Caledonian Pocket Companion," 1750, and M'Gibbon's Third Collection,
1755. We doubt if the old song printed in the Museum can be found
at any earlier date.
161. DUMBARTON'S DEUMS.
Stenhouse makes his first reference to this tune as follows : " This song
is inserted in the second edition of Thomson's Orpheus Caledonius, pub-
lished in 1733. It also appeared in Daniel Wright's Miscellany for
December 1733,under the title of "Dumbarton's Drums," never before printed
to music. The words were inserted in the Tea-Table Miscellany in 1724,
but the author is unknown." It may be stated that the song appeared
in the first volume of the Tea-Table Miscellany, with the letter C
appended to it ; it is therefore one of those that were contributed to
Eamsay's work. The tune is contained in the "Musick for the Scots
Songs " in the " Tea-Table Miscellany," circa 1726, a work which has not
been known to Stenhouse. The air, however, is much earlier ; a primitive
version of it is given in the Skene MSS., called, "I serve a worthie
ladie," and another set, with variations, is twice included in "Apollo's
Banquet," 1687, first as "A New Scotch Hornpipe," and again as "A Scotch
Tune." Stenhouse adds, " Burns says, that this is the last of the West
Highland Airs," but we cannot see the least Highland character about it.
Our opinion is that the tune was at first a Scots measure, and afterwards
became the march of the regiment raised by the Earl of Dumbarton. It
is still so used by the 1st Eegiment, or Eoyal Scots.
162. CAULD KAIL IN ABEEDEEN.
What Stenhouse says of this melody is so far true : " This beautiful air
does not appear in any of our old collections by Thomson, Craig, M'Gibbon,
or Oswald." Had he simply made the statement that it is not to be found
prior to the Scots Musical Museum, it would have been all that was
necessary. We are told in the preface to his book that the printing
of the work was begun at the end of 1820, and finished in a few
months. Yet he adds, "For upwards of half a century few, if any,
H
114
EAELY SCOTTISH MELODIES.
of our tunes have been greater favourites with the poets than that of
"Cauld Kail in Aberdeen," an assertion which, in the absence of any
evidence prior to the Museum, we take to be nonsense. In the second
volume of the Tea-Table Miscellany there is indeed a song from the
" Gentle Shepherd " entitled, " Cauld Kale in Aberbeen," but the air is a
Strathspey tune, bearing no relation whatever to the one under review,
and it has appeared as late as 1783 with the same name. We have made
an exhaustive search, and have arrived at the conclusion that the present
tune is not older than the Museum. Stenhouse refers to the words in
Herd's Collection, but there are no tunes in that publication.
163. FOE LAKE OF GOLD.
This song, we are told by Stenhouse, " was composed by Dr Austin,
physician in Edinburgh, who had courted Miss Jean Drummond of
Megginch, and to whom he was shortly to have been married." However,
she jilted the doctor. Again, " Dr Austin adapted his words to the tune
of an old song, which has a similar beginning, called, ' For the Lak of
Gold I lost her, ; ' the melody of which is inserted in Oswald's Pocket
Companion, book iii., page 2. There are several passages in the tune, however,
the very same as in that called ' I love my Love in Secret.' " The latter
tune is probably not older than " For lake of Gold she left me," as both
are contained in the Blaikie Manuscript of 1692. If there was no older
song than Dr Austin's, the title of the tune must have suggested the sub-
ject of his verses. We give the melody as in the Manuscript.
Fob lake o* gold.
SOB LAKE 0* GOLD. Iggg.
m
yjrffngirgffitttfff i fg ^ittfff jijJJH i Jffi
164. KATHAEINE OGIE.
See English Claims, page 46.
165. THE PLOUGHMAN.
Stenhouse asserts, "This pretty little tune, in common time, consists
only of one strain, like that of the original melody, in triple time, called,
' Sleepy Body,' from which it is evidently taken." He also gives the air,
under the name of " The Ploughman's Whistle," from an old manuscript in
THE SCOTS MUSICAL MUSEUM. 115
his possession, without mentioning its age. His assertion that "The
Ploughman" and "Sleepy Body" are in different times or measures is
entirely wrong ; perhaps he was ignorant of what distinguishes common
from triple time. The first named tune is in f, and the other in £ time,
both being in common measure. He may, however, be correct in stating that
" Sleepy Body," published in 1733, was the original melody. " The Plough-
man" first appears in print in the fourth book of Oswald's Caledonian
Pocket Companion, 1752, and Bobert Bremner gives it as "Jolly Plowman"
in his collection of Scots Eeels or Country Dances, 1761. Stenhouse in-
forms us that the last verse of the song in the Museum conveys a double
meaning, and says, " This was one of those few things which Burns hinted
to Johnson might be amended if the work were to begin again." Had the
Musical Miscellany, 1786, been referred to, " The Plowman he's a bonny
lad " would have been found there, plein de double entendre.
166. TO ME WHAT ABE EICHES ?
Tune — "Heke's a Health to my true love, &c."
This song, " To me what are riches ? " is said to have been written
expressly for the Museum by Dr Blacklock. Stenhouse says, " The verses
are adapted to an ancient air called, 'Here's a health to my true love
wherever he be,' which tradition reports to have been a composition of our
gallant Scottish monarch, James IV., who fell with the ' Plowers of the
Forest ' on Flodden Field in 1513." Bitson (whom Stenhouse quotes) says,
" One would be glad of some better, or at least some earlier authority,
as Scottish traditions are to be received with great caution.'' We concur
with Bitson, and it would have been more to the purpose if Stenhouse,
instead of vapouring about Scottish credibility arid traditions, had made
some effort to obtain positive evidence of the earlier existence of the
tune than the Scots Musical Museum. Surely if the melody had been
composed by a monarch before 1513, some musician would have found a
place for it in a collection prior to 1788. We very much doubt the
traditional story, and we should have liked some samples of the composi-
tions of the Blacksmith of whom Stenhouse boasts.
167. HEY, JENNY COME DOWN TO JOCK.
This song appears to be very ancient. Bobert Chambers says, " It dates
not later than the regency of Moray, as it is inserted in the Bannatyne
Manuscript, 1568." Stenhouse gives a similar story, and tells us it was
entitled " Bob's Jock," but he says nothing about the air, further than that
116 EARLY SCOTTISH MELODIES.
it is the original melody. He gives no proof of his assertion, and so far
as we have been able to discover, the first printed copy of the tune is
contained in Wm. M'Gibbon's third collection, 1755. Eitson, in his
" Scottish Songs," 1794, has given no air to the verses, but leaves the staves
that precede the song blank. There is another tune in the Blaikie Manu-
script, 1692, named, " Jocky wood a wooing go," which suits the words of
the old song, and is perhaps the original melody. The air in the Museum
is not given in the " Orpheus," the " Tea-Table Music," Craig's and Oswald's
collections, or any other before 1755.
168. O'EE BOGIE.
This quaint old melody was first printed in the Orpheus Caledonius,
1725, and it was used for one of the songs in Eamsay's "Gentle Shepherd."
It is also contained in the Musick for the Scots Songs in the " Tea-Table
Miscellany " which Eamsay published, circa 1726. The song is one of his
own, and was printed by him in 1720. Stenhouse, who shows a great
liking for the tune, says, " The uncommonly wild structure of this melody,
a copy of which is inserted in Mrs Crockat's Music Book, written in 1709,
evinces it to be of very high antiquity," etc. ; and again, " Before the days
of Eamsay the tune of ' O'er Bogie ' was adapted to an old silly song, the
first stanza of which ran thus : —
' I'll awa wi my luve, I'll awa wi her,
Tho' a' my kin had sworn and said, I'll o'er Bogie wi her ;
I'll o'er Bogie, o'er scrogie, o'er Bogie wi her ;
In spite o' a' my kin hae said, I will awa wi her.' "
Though the air is in Mrs Crockat's Music Book, 1709, we have no evidence
that the " old silly song " was prior to Eamsay — indeed, silly words are
no proof of age whatever. The tune has been long played as a reel.
169. LASS WI A LUMP OF LAND.
This excellent and humorous song was written by Allan Eamsay, and pub-
lished by him in the second volume of the " Tea-Table Miscellany." The tune
was first printed in 1731, and is contained in "The Musical Miscellany"
and Mitchell's " Highland Fair." These two works, which have the same
melody note for note, were published by John Watts, London. Stenhouse
asserts, as usual erroneously, that "Thomson preferred Eamsay's version,
and adapted it to the original melody in his Orpheus Caledonius, 1725 ; "
whereas it does not appear in that work before the second edition, 1733.
The tune in Thomson is superior, however, to the one given by Watts, and
nearly identical with that in the Museum.
THE SCOTS MUSICAL MUSEUM. 117
170. HEY TUTTI TUITI.
This is undoubtedly an ancient tune, though its age rests entirely upon
tradition. Burns refers to the tradition held about Stirling and elsewhere,
that it was played at the Battle of Bannoekburn. Eitson alleges " That
the Scots at that period had a little horn, with the blowing of which,
as we are told by Froissart, they would make such a noise as if all the
devils in hell had been amongst them. These horns are the only music
(instrument of music) ever mentioned by Barbour." Though we do not
affirm that the tune was played at Bannoekburn, there seems to be little
doubt that Eitson was wrong in stating that the Scots had only these
little horns. We have positive evidence from the Exchequer Eolls, that
David, Bruce's son, had pipers not many years after the battle, and it
requires no great stretch of imagination to suppose that his father had
pipers also. The tune, now better known as " Scots wha hae," or as " The
land o' the leal," is played on the bagpipe at the present day. "We allow,
however, that its first appearance in print is in Oswald's Caledonian Pocket
Companion, book iii., about 1750, and it afterwards found a place in
M'Gibbon's Third Collection, 1755.
171. THE YOUNG LAIED AND EDINBUEGH KATY.
This song is by Allan Eamsay, and was printed by him in 1720, four
years before the first volume of his " Tea-Table Miscellany." The melody
appeared in the music for that work, which was published, circa 1726,
under the title of " Now wat ye wha I met yestreen." It is to be found in
most of our Scots Collections, with the exception of the " Orpheus Cale-
donius " and Adam Craig's " Scots Tunes," either as " Now wat ye wha I
met yestreen," or " Coming thro the Broom my Jo."
172. KATY'S ANSWER
This song is also by Eamsay, and was printed along with the previous
one in 1720. The melody is better known by the first line of the words,
"My mither's ay glowran o'er me;'' and is found in John Playford's
Dancing Master, as far back as 1651, entitled "A health to Betty." From
this circumstance its nationality has become a bone of contention. If of
English origin, it has been much improved on Scottish soil, the version
given in the Blaikie Manuscript, 1692, being more sprightly and melodious,
whereas the English version is insipid, and unworthy of comparison with
the air in its present form. It has two strains in Blaikie's MS., though in
the Orpheus Caledonius, 1725, it is printed with one only.
118 EAELY SCOTTISH MELODIES.
173. RAVING WINDS AROUND HER BLOWING.
Tune — "M'Gregor of Robo's Lament."
This song was written by Burns. The melody is said to be an old
Highland one, but we can give no information as to its age. It is contained
in the Rev. Patrick M'Donald's " Collection of Highland Vocal Airs " (No.
88), which was published in 1784.
174. YE GODS, WAS STREPHON'S PICTURE BLEST.
Tune — "14th of October."
This song, Stenhouse says, was written by William Hamilton of Bangour.
We note that the song in the " Tea-Table Miscellany," 1740, has no letter
attached to it, but in the edition of 1734 it is marked with an L, meaning
new words by different hands. Ramsay says, " My being well assured how
acceptable new words to known good tunes would prove, engaged me to the
making verses for above sixty of them in this and the second volume, about
thirty more were done by some ingenious young gentlemen," etc. Sten-
house, however, commits an error in regard to the tune ; it does not appear
in the Orpheus Caledonius of 1725, but in the second volume of the second
edition, 1733. It occurs again in M'Gibbon's second collection, 1746, and
Oswald's Caledonian Pocket Companion, book iii., about 1750, as well as in
other later publications,
175. HOW LONG AND DREARY IS THE NIGHT.
Tune — "A Galick Aik."
The Gaelic melody, to which this song is sung, was picked up, we are told,
in the North of Scotland by Robert Burns. We are not aware that it is to
be found in any collection prior to the Museum. Burns altered and
enlarged the song for George Thomson, as he states in his letter of 19th
October 1794 : " ' How long and dreary is the night.' I met with some
such words in a collection of songs somewhere, which I altered and en-
larged ; and to please you, and to suit your favourite air,'' etc. Thomson's
favourite air, to which he set it in his collection, is "Cauld Kail in
Aberdeen." See Appendix.
176. SINCE ROBB'D OF ALL THAT CHARM'D MY VIEW.
Tune — ''Miss Hamilton's Delight."
We are informed by Stenhouse that, "This song was written by Dr
THE SCOTS MUSICAL MUSEUM. 119
Blacklock in 1787, to the tune of Miss Hamilton's Delight, and presented
to Johnson for the Museum." What the age of the tune is we are unable
to say, "but it was published in 1762, twenty-five years before the Museum,
in M'Gibbon's Collection of Scots Tunes, with additions and variations
by Eobert Bremner. The tune is claimed by Bunting for Ireland, his
authority being a harper in 1802.
177. THE BONNY EAEL OF MUEEAY.
Whatever may be the age of this song, which relates to the murder of
the Earl of Murray by the Earl of Huntly in 1592, we cannot trace the
melody in a printed form prior to 1733. It appears in the second edition
of the " Orpheus Caledonius," and again is found in Francis Barsanti's
Collection, 1742. These are the two earliest sources from which we get the
tune. Stenhouse neither mentions the air nor .tries to discover its age.
178. YOUNG DAMON.
Tune — " Highland Lamentation."
The melody is one of James Oswald's compositions, and is contained in
his Caledonian Pocket Companion, book iii., page 24. From its name the
tune may be supposed to have been composed after the suppression of the
Eebellion of 1745-6, and published about 1749 or 1750. The words to
which it is adapted in the Museum are by Eobert FergussoD. The air
has an extensive compass for the voice.
179. MUSING ON THE EOAEING OCEAN.
Tune — "Druimion Dubh."
This tune, we assume from its name, belongs to the Highlands. Sten-
house says, "In Oswald's Pocket Companion there is a slow air, in
triple time, called ' Drimen Duff,' but it is quite a different tune from that
in the Museum." The Museum melody was published, however, by the Eev.
Patrick M'Donald in his "Collection of Highland Vocal Airs, never
hitherto published," etc., 1784. Stenhouse was evidently unacquainted
with this work.
180. BLYTH WAS SHE.
In the Museum there are two songs to which this melody has been
adapted. The first is by Burns, and the other, called " Andro and his cutty
Gun," is published by Allan Eamsay in the fourth volume of the Tea-Table
Miscellany, 1740. We do not find the tune, however, before its appearance
120 EAELY SCOTTISH MELODIES.
in Oswald's Caledonian Pocket Companion, book vi., published about 1753.
The air, we think, was originally a bagpipe tune ; it is quite suited for, and
is played on, that instrument. It is constructed in the minor mode, and is
pentatonic, wanting the third and sixth of the scale. Our opinion is that
the tune may be considerably older than 1753.
181. JOHNY FAA, OE THE GIPSIE LADDIE.
This air is better known at the present time as " Waes me for Prince
Charlie." It is very ancient, a version of the tune being contained in the
Skene MSS., under the title of "Ladie Cassilles Lilt." For the first
printed copy of the melody, we are indebted to a foreigner ; it is included
in Francis Barsanti's " Collection of Old Scots Tunes," 1742, identical with
its present form. "We incline to think that the Skene Manuscript copy
had been much altered at the hands of later musicians, as was supposed by
George F. Graham, and that Barsanti had taken down a traditional set
which he had heard sung or played.
182. TO DAUNTON ME.
This is an ancient tune. We believe that it is contained in what is
known as the Atkinson MS., 1694, under the title of " This wife of mine."
So far as we know, it first appeared in print to a song called " Be vallient
still," in Mitchell's " Highland Fair," 1731, a ballad opera consisting of Scots
Tunes. Afterwards, it occurs in Oswald's Curious Collection of Scots
Tunes, 1740 ; Barsanti's Old Scots Tunes, 1742 ; and M'Gibbon's Second
Collection, 1746. Stenhouse in his note says, " The composer has stolen
some bars of the second part of this tune from the old air of ' Andro and
his Cutty Gun.' " We rather suspect that " Andro and his Cutty Gun "
is taken from " To Daunton Me," because we can trace the latter to the
17th, the former only to the 18th century.
183. POLWAET ON THE GEEEN.
This song was written by Allan Eamsay, and published by him in 1720.
Burns was misinformed as to the author. The tune was first printed in
the Orpheus Caledonius, 1725, and shortly afterwards by Eamsay in the
" Musick for the Scots Songs " in the Tea-Table Miscellany ; also by Craig,
1730 ; Oswald, 1740 ; and M'Gibbon, 1742. Stenhouse says the melody
is contained in Mrs Crockat's Manuscript, 1709. It must have been
well known in Eamsay's day.
184. ABSENCE.
We are informed by Stenhouse that both the words of this song and the
THE SCOTS MUSICAL MUSEUM. 121
tune to which it is set in the Museum, were written and composed by Dr
Blacklock, who presented the same to Johnson for his publication. The
melody is pretty, and in a nice flowing style.
185. I HAD A HOESE, AND I HAD NAE MAIE.
This humorous song, under the title of " The Surprise," made its first
appearance in Herd's " Scots Songs : Ancient and Modern," vol. ii., 1776.
The tune to which the words of the song are adapted we have failed to dis-
cover in any collection, manuscript or printed, earlier than the publication
of the Scots Musical Museum. The melody was probably composed after
the song found a place in Herd's Collection.
186. TALK NOT OF LOVE, IT GIVES ME PAIN.
Tune — "Banks of Spey."
The air to which this song is adapted is an excellent one. It was first
published in 1755, by William M'Gibbon in his third collection, and some-
what later it was included in Oswald's " Caledonian Pocket Companion,"
book xi. Stenhouse says, " The original song of ' The Banks of Spey '
is supposed to be lost." "We are doubtful if there was a song : it was
probably only a name for the tune. Oswald has " The Banks of Forth,"
"The Banks of Tay," "The Banks. of Sligoe," "The Banks of Severn," as
the names of tunes in his Caledonian Pocket Companion.
187. O'EE THE WATEE TO CHAELIE.
In Johnson's 200 Country Dances, vol. iv., page 9, a London publication
of 1748, there is a version of this tune under the title of " The Pot Stick."
Though not exactly the same as given by Eutherford, 1750, and Oswald,
1752, as " Over the Water," and " Over the water to Charlie " respectively,
we are of opinion that the name of " The Pot Stick " was merely that of the
dance, not the tune. Oswald gives another melody resembling " O'er the
Water to Charlie," called " Shanbuie " in book xi., while " Pot Stick," page
14, and " The Irish Pot Stick," appear at page 15, in book ix. of the
Caledonian Pocket Companion. The two latter "Pot Sticks," however,
bear no relation to Charlie, and are no doubt Irish tunes, the one in six-
eight, and the other in nine-eight measure. Stenhouse in his note says,
"The fourth number of Oswald's work having been printed as early as
1741, four years before Prince Charles arrived in Scotland, it is probable
that another and a much older song, which had no relation to the Jacobite
verses whatever, was then in fashion," etc. So far as the date of Oswald's
book iv. of the Caledonian Pocket Companion is concerned, he is eleven
years too early, and as to an older song, it is pure conjecture. We con-
sider the tune to be a Scottish one.
122 EAELY SCOTTISH MELODIES.
188. UP AND WAEN A', WILLIE.
The oldest copies of this tune we have found are in John Walsh's
Caledonian Country Dances, book ii., page 37, called "Up to war a', Willie,"
and in Oswald's Caledonian Pocket Companion, book iii., page 1. We are
of opinion that Walsh published his book ii.- somewhat before Oswald, but
we are unable to state an approximate date. The point, however, is of
no consequence, as Walsh admits the Scottish origin of the tune. Sten-
house is wrong in the statement that the third volume of Oswald's
Caledonian Pocket Companion was issued in 1741 : it did not appear till
1750 or 1751. He also says, " The Ballad, to which this air is now
adapted in this Museum, was composed after the battle of Sheriffmuir or
Dunblane, fought on the 13th of November 1715," but how long after he
does not tell us.
189. A EOSE BUD BY MY EAELY WALK.
We are informed by Stenhouse that the air to this song was the com-
position of David Sillar, Schoolmaster, Irvine, a contemporary of Burns,
and likewise a poet.
190. TO A BLACKB1ED.
Tune — " Scots Queen."
This tune, the " Scots Queen," is contained in Oswald's Caledonian
Pocket Companion, book xii., page 1. In his note to this song, Stenhouse
says, " Mr Stephen Clarke, however, made an addition of four bars to the
first strain, in order that the melody might suit the verses better." This
assertion is sheer nonsense : the tune is the same as given in the Museum ;
the first strain, which Johnson has printed in extenso, is by Oswald simply
marked for repetition, which shows the value of Stenhouse's observation.
191. HOOLY AND FAIELY.
This song and tune, with the above title, are printed in Eobert Bremner's
" Thirty Scots Songs, for a Voice and Harpsichord," page 10. Oswald in-
cluded the air in the tenth book of his "Caledonian Pocket Companion," page
8, called " The Drunken Wife of Galloway." Stenhouse states, " it is only a
slight variation of the old melody of ' Faith I defy thee,' which may be
seen in the fifth volume of the same work, page 32." He mentions also
" The earliest edition of this very humorous song which I have met with,
is that in Yair's Charmer, vol. ii., printed at Edinburgh in 1751 " : and
THE SCOTS MUSICAL MUSEUM.
123
again adds, " As the copy of the song inserted in the Museum was altered
considerably, though I do not think improved by Burns, some of the best
stanzas being altogether omitted, it is here given entire from Yair's Collec-
tion in 1751." It is true there is only a slight variation, but it is
difficult to say which is the earlier if we take Stenhouse's estimate of
the date of Bremner's work, circa 1749. In the Museum we find the words
exactly as in Bremner, with the difference that the third verse is added.
Burns was born in 1759. The Thirty Scots Songs were published in 1757.
192. AULD BOB MOBEIS.
This fine old tune was published by William Thomson in his Orpheus
Caledonius, 1725. It was one of seven he ascribed to Kizzio, though
there is not the slightest evidence that the Italian ever composed a Scots
tune. The tune, however, is known to be much earlier than 1725. It is
contained in the Blaikie Manuscript, 1692, called "Jock the Laird's Brither."
The verses in Bamsay's Tea-Table Miscellany have the letter Q, which de-
notes that it is an old song with additions. Whether Eamsay altered,
added, or curtailed it for its coarseness, we are unable to say.
Jock thx laibd's sboiheb.
1692.
df tfN jjijJ tnrrfli'' JiJ jjij J^irffJu i
ErirrPfllqriJJ f iJjjijJ[J i rffJu i
193. AND I'LL KISS THEE YET, YET.
Tune — "Braes o' Balquhiddek."
The words of this song are said to be by Burns, but whether rightly
or otherwise Johnson has placed the letter Z to it, which signifies old verses
with corrections or additions. In all our researches we have not discovered
the melody in any collection printed or published in Scotland earlier
than Walsh's 24 Country Dances for the year 1742, where it appears
under the Scottish name of " The Braes of Balquhidder." Surely this is
evidence that many of our tunes travelled southwards with our musicians,
and that they were included in English publications before being printed
in Scotland: the proper spelling of the words is a further corrobora-
tion.
194. EATTLIN', EOAEIN' WILLIE.
This tune does not appear in any printed Scottish collection before book
124 EAELY SCOTTISH MELODIES.
vii. of Oswald's Caledonian Pocket Companion, page 9. It is, however, in-
cluded in the Blaikie MS., 1692, and in the Leyden Manuscript, under
the name of " Bony Eoaring Willie." The bars in these tablatures are not
correctly placed, and the duration of the notes is somewhat faulty, never-
theless they produce the air. G. F. Graham made a translation from the
Leyden, which we have carefully examined, and can vouch for its accuracy.
195. WHERE BRAVING ANGRY WINTER'S STORMS.
Tune — "N. Gow's Lamentation for Abercairny."
This slow air was composed by Niel Gow, and printed in his collection
dedicated to the Dutchess of Athol, and published in the year 1784.
196. TIBBIE, I HAE SEEN THE DAY.
Tune — " Invercauld's Reel."
This is said to be one of Burns's earliest songs. Invercauld's Reel, an
excellent Strathspey, was published in Neil Stewart's Collection of the
Newest and Best Reels or Country Dances, page 31, the fourth number,
1762 ; and in Bremner's Reels, second volume, 1768.
197. NANCY'S GHOST.
Tune — "Bonie Kate of Edinburgh."
This is said to be one of Dr Blacklock's songs which he gave to Johnson
for the Museum. The melody occurs in "The Caledonian Pocket Com
panion," book v., page 5. It is somewhat altered in the Museum from the
version given by Oswald. In our opinion, the melody is not Scottish,
but one of the Anglo-Scottish species, and a decent imitation.
198. CLARINDA.
The air to this song by Burns is supposed to be the composition of Mr
Schetky. We are not informed which of the Schetkys is referred to, but it
was probably John. It is, however, a very poor melody, and without the
least Scottish character.
199. CROMLET'S LILT.
This song has a long traditional story, but its first appearance- in print,
THE SCOTS MUSICAL MUSEUM. 125
so far as we know, is in the second volume of Eamsay's Tea-Table
Miscellany. Stenhouse says, " The melody to this old song is inserted in
the Orpheus Caledcnius in 1725." This is another of his fables or blunders ;
it does not occur in that work till the second edition in 1733, and we have
no evidence of the tune prior to that date. It is contained in Oswald's
Curious Collection of " Scots Tunes," 1740, and two years later in Barsanti's
Collection of " Old Scots Tunes " ; but it has found no place in M'Gibbon.
200. THE WINTEK IT IS PAST.
The melody to which these verses are given in the Museum is contained in
Oswald's Caledonian Pocket Companion, book x., page 9 (not in book seven,
as many have it who have copied from Stenhouse), probably published
about 1759. Dr Petrie, in his Ancient Music of Ireland, 1855, has set up a
claim to the words and air. As it is not our province to deal with
the song, we pass to the tune as given in the Museum. Petrie says
of the song, "at least so much of it was known in Scotland during
the latter part of last century; and it is in the highest degree pro-
bable that it was known as early as 1750, about which time the
Scottish air to which it has been united, and v»hich in my opinion was
obviously composed for it, first appeared in Oswald's ' Pocket Companion '
as already alluded to, under the name of ' The Winter it is past.' The
Scottish claim to this song, as well as to the tune to which it is sung, might
therefore appear to be incontrovertible. But the same song, united to a
melody unquestionably Irish, has been equally, if not better known in Ire-
land, and from an equal, if not a much longer period ; and it appears to me
that of the claims of the two countries to this song, the Irish one is
decidedly the stronger . . . the song as sung in various parts of Ireland for
more than a century," etc. As to Petrie's proof, it amounts to the follow-
ing : in the Index to his volume we have " ' The winter it is past ' (or The
Curragh of Kildare), — Betty Skillin, noted about half a century ago by
," and at page 168, " The following is one of the many airs noted in my
young days from the singing of a near connection of my own, and which,
as I have already stated, had been learned in that lady's childhood from the
singing of Betty Skillin." Again, at page 40, we get: "Molly Hewson
is one of many tunes noted down about forty years since from the singing
of a now aged lady, — a near connection of my own ; these airs having been
learned in her child-days from the singing of an old woman who was fre-
quently brought in to assist in washing in her father's house." The old
woman in both instances is Betty Skillin, and forty or fifty years ago only
reaches back to 1805, Petrie's date being 1855. How, then, can Petrie
assure us it was sung in various parts of Ireland for more than a century ?
The Scottish claim is not for the Irish tune given by him, but he has
failed to prove his claim even for the Irish one. Whatever the history
126 EAELY SCOTTISH MELODIES.
of Betty Skillin, he does not account for the non-publication of the air till
1855. Dean Christie states that the hero of the song was a highwayman
called Johnson, who was hung for committing many robberies at the
Curragh of Kildare about the middle of last century.
VOL. III.
201. TUNE YOUE FIDDLES, &c.
Tune — "Marquis of Huntly's Keel."
In Stenhouse's note on this song, written by the Eev. Mr Skinner, he
tells us, " the tune to which Mr Skinner's verses are adapted in the Museum
is called ' The Marquis of Huntly's Eeel,' which was composed by the late
Mr William Marshall, butler to the Duke of Gordon." He next proceeds
with some hearsay information taken from the " Beliques," along with his
comment on it, and his allusion to " Miss Admiral Gordon's Eeel," which
we notice at page 95. He goes on further : " In my opinion, ' The Marquis
of Huntly's Eeel ' is not only one of the best and most original airs, but
likewise more free from plagiarisms than any other tune Marshall ever
composed. The air in the Museum is very injudiciously altered and cur-
tailed. A genuine set of the tune with the first verse of Mr Skinner's song
is therefore annexed." The annexed set is not that first published by
Marshall. If this note was indeed penned by Stenhouse, it is rather a
doubtful compliment, which really means that Marshall was a plagiarist in
most of his compositions. This opinion is worthless : he neither knew
Marshall nor his compositions. Who was the late? Stenhouse died in
1827, Marshall in 1833.
202. GLADSMUIE.
Stenhouse informs us that the melody to this song or poem was set to the
words by William M'Gibbon. We have not been able to find it, however,
in any of the Collections he published, but that may be accounted for if
the statement in the Additional Notes to Stenhouse's Illustrations is
correct. "The Ode on the Battle of Gladsmuir, 1745, was originally
printed for private distribution, and was set to music by M'Gibbon."
203. GILL MOEICE.
Stenhouse has given a long note to this song, including the whole fifty
verses, which occupies a space of seven pages in his Illustrations. It is not
our purpose to meddle with the history of the ballad, nor to refer to what
THE SCOTS MUSICAL MUSEUM. 127
may be deemed real and spurious stanzas ; we direct our attention to
the melody, or rather the earliest version of it we can discover. We
find no trace of it previous to Bremner's "Thirty Scots Songs for a
Voice and Harpsichord," published in 1757. The melody alone appears
in Oswald's " Caledonian Pocket Companion," book xii., also in Francis
Peacock's "Fifty Favourite Scotch Airs," 1762; where it is marked "very
slow." Stenhouse says, "In singing or rather chanting this old Ballad,
the two last lines of every stanza are repeated. In 1786 I heard a lady,
then in her 90th year, sing the Ballad in this manner." We doubt the
truth of this statement, as we are convinced it would take the nonagenarian
about an hour to get through all the verses. Bishop Percy says that "Grill
Morice " was printed at Glasgow for the second time in 1755. When was
the first ? We have no evidence of the air before 1757, but though not in
any of his Collections, it was probably, as supposed by Biddell of Glen-
riddell, composed by M'Gibbon, who died the previous year.
204. I LOVE MY LOVE IN SECEET.
In the Museum, Johnson has printed two songs to this old air of the
Scots measure class. It is found in Henry Playford's " Collection of
Original Scotch Tunes," 1700, page 2, entitled, " I love my love in secreit,"
also in Margaret Sinkler's MS. Music Book, 1710 ; and Stenhouse says it is
inserted in Mrs Crockat's MSS., written in 1709, and without name in
Agnes Hume's, 1704.
205. WHEN I UPON THY BOSOM LEAN.
Tune — " Scots Eecluse."
This song is by John Lapraik, a contemporary of Burns, who published
it to the tune of " Johnny's Gray Breeks " in Poems on Several Occasions,
by John Lapraik, printed by Wilson, Kilmarnock, in 1788. The tune in
the Museum, the Scots Eecluse, is an early composition of James Oswald,
which he published in his Curious Collection of Scots Tunes in 1740. In
that work he did not claim the tune, nor several others which he after-
wards claimed in the Caledonian Pocket Companion, by putting to their
titles in the Index the asterisk which denotes his own compositions.
206. COLONEL GAEDENEE.
Tune — "Sawnies Pipe."
This melody is contained in Oswald's Caledonian Pocket Companion,
book ix., page 20, under the title of " Sawney's Pipe." It is a very pretty
128
EAELY SCOTTISH MELODIES.
air, in thorough Scottish style ; but we possess no knowledge of the com-
poser. The author of the song is said to be Sir George Elliot of Minto,
Bart.
207. TIBBIE DUNBAE.
Tune—" Johnny M'Gill."
This is a sprightly Scottish jig, named after its composer, an Ayrshire
musician who lived in the first half of the eighteenth century. We are
not aware, however, that it was printed prior to Joshua Campbell's "Collec-
tion of the Newest and Best Reels," etc., 1778. It also appeared in Eobert
Eiddell's " Scotch Galwegian and Border Tunes," 1794, as " My silly auld
man " : and he states, " This tune is said to have been composed by John
M'Gill, Town Piper of Girvan." The Irish have a tune of the same name,
which is contained in John Macpherson Mulhollan's Selection of Irish and
Scots Tunes, 1804, but it is not the Scottish melody ; and in ignorance of
their own jig, they have claimed our Johnny M'Gill for Ireland. This
The Jio of Johnny Macgill
1HEJIGOP JOHKHV MACGILL ^» .1809
assumption, for it can be nothing more, arose probably through the employ-
ment by Moore of the first strain of the Scottish tune as the second
to the old melody of " Green Sleeves," and dubbed the mongrel " The
Basket of Oysters " in his " Irish Melodies," fifth volume, 1834.* E. Hoff-
mann has included the Scottish air in an Irish form, apparently derived
from some itinerant musician, in "Ancient Music of Ireland, from the
Petrie Collection," 1877, as " Oh, what shall I do with this silly old man?"
By such mistakes the wrong melody has been claimed for 'Ireland by many
of her sons. The song of " Come under my plaidie " is sung to this tune.
208. JENNY WAS PAIE AND UNKIND.
Tune — "Scots Jenny."
This song is another effusion of John Lapraik, who has already been
noticed as the writer of " When I upon thy bosom lean." The melody is
furnished from one of Oswald's compositions, called " Scots Jenny," which
was published in the second volume of " The Collection of Curious Scots
Tunes, dedicated to the Prince of Wales," 1742, page 31. He made his
claim to the tune about ten years previous to the publication of book v. of
the " Caledonian Pocket Companion."
* See " The Basket of Oysters," Irish, in Aird's Fifth Selection, 1797.
THE SCOTS MUSICAL MUSEUM. 129
209. MY HAEEY WAS A GALLANT GAY.
Tune — " Highlander's Lament."
The melody to this song we cannot find in any form prior to Neil
Stewart's " Collection of the Newest and Best Eeels or Country Dances,"
1762. It is inserted on page 27 as "Highland Watch's farewell to
Ireland," and we therefore conclude it was composed ahout that date. We
have seen it named the "Highlander's Farewell," but cannot discover
it as the " Highlander's Lament " before the Museum copy. The tune we
believe to be a bagpipe composition.
210. THE HIGHLAND CHAEACTEE.
The air of this song is better known under the title of " The Garb of old
Gaul," from the first line of the song. It is the composition of General
John Eeid, who endowed the Chair of Music in the University of Edinburgh.
So far as we know it was first published in Eobert Bremner's " Collection
of Airs and Marches," second number, 1756, entitled " The Highland March,"
by Capt. Eeid. The song is from the pen of Sir Harry Erskine, Bart., and
is said by D. Laing to be included in " The Lark," a collection of songs
printed in 1765.
211. LEADEE HAUGHS AND YAEEOW.
This tune appears for the first time in the second volume of the Orpheus
Caledonius, 1733, though it must have been known before Eamsay pub-
lished the Tea-Table Miscellany. It is not found in any manuscript of an
earlier date that has come down to us, so we may infer it was not old in
1724, or at least not held in estimation. The next time it occurs is in
Bremner's edition of " M'Gibbon's Scots Tunes with additions," book iv., 1768,
and four years later in Neil Stewart's " Collection of Scots Songs, adapted
for a Voice and Harpsichord." Stenhouse says in his note, " Both the old
ballad of ' Leader Haughs and Yarrow ' and the tune are said to be the
composition of Nicol Burn, a border minstrel who flourished about the
middle of the sixteenth century." Laing in his additional note states,
"There is no evidence for giving Minstrel Burn the Christian name of
Nicol, or making him flourish about the middle of the sixteenth century.
His ballad belongs to the first half, or perhaps the middle of the following
century." We suspect both notes to be pure conjecture, as we have the
two songs, " The mom was fair," and " When Phoebus bright," in the
second volume of the Tea-Table Miscellany, 1740, without any letter
to denote that they were old, though the latter appeared in the original
edition with the letter Z. Further, " Thirlstane Castle," the house men-
i
130 EAELY SCOTTISH MELODIES.
tioned in the fourth verse, was not built till 1674, the date above the door-
way. "We have no proof of the existence of the songs before Kamsay's
work, and he may be the author of the former. See Chambers's " Scottish
Songs," 1829, and " Songs prior to Burns."
212. THE TAYLOK FELL THEO' THE BED, Etc.
The air to which this song is sung has received the name of "The
Taylor's March " in James Aird's " Selection of Scotch, English, Irish, and
Foreign Airs," etc., published in 1782. Stenhouse says, " It is generally
played at the annual meetings for choosing the deacons and other office-
bearers of the (corporation of Tailors) Society. The popular air of ' Logie
o' Buchan ' is only a slight variation of the ' Tailor's Old March.' " This
statement is doubtful, and the converse may be the case. A tune in the
Atkinson Manuscript, 1694, called, "Tak tent to the ripples gudeman," is
supposed to be the parent melody, but we think this rather too far fetched.
Oswald, however, gives an air in the " Caledonian Pocket Companion," book
xi., entitled, " Beware of the Bipples," which is identical with "The Taylor's
March" in Aird, minus the embellishments. See Note 358, tune No. 2.
213. AY WAUKIN 0.
This beautiful little melody was published by William Napier in his
"Selection of the most Favourite Scots Songs," etc., a short time before the
third volume of the Museum appeared. Though the preface is dated Feb-
ruary 1790, Johnson's work was not issued till July. Napier's version of the
air is that which Captain Eiddell communicated to Stephen Clarke, and which
was printed in the fourth volume of the Museum. John Watlen, in 1793,
published another set of the air with the song of "Jess Macpharlane."
Urbani in his second volume, 1794, and Bitson in his " Scotish Songs,"
1794, — "from a manuscript copy transmitted from Scotland," — adhere
to Napier. Johnson's version occurs again in the second volume of the
Vocal Magazine, 1798. Stenhouse gives what he calls the ancient tune in
his Illustrations, but we have no more than his word for it. Which is the
original? and has its date been ascertained? The editor of a recent
collection of Scottish Songs states, " Eitson is of opinion that the air, ' Ay
wakin 0/ from its intrinsic evidence, is very ancient," whereas Eitson merely
says (we give his own words) : " Those songs and tunes, of which intrinsic
evidence alone may be supposed to ascertain the age, are left to the
genius and judgment of the connoiseur."
214. THE BEEAST KNOT.
The melody to this song is a dance tune, and an example in opposition
to the statement which Stenhouse makes, that many of our strathspeys,
THE SCOTS MUSICAL MUSEUM. 131
reels, and jigs have been derived from our old vocal airs. He is, however,
very wide of the mark with many of his statements. The tune was
published by Eobert Bremner in his "Collection of Scots Reels or
Country Dances," 1758, page 31, as "The Lady's Breast Knot." It is quite
evident that the writer of the song knew the air to be a dance tune, as he
makes the bride ask the piper to play it. The song is now sung to a
different melody, introduced by John Sinclair in 1826, and published by
Alexander Eobertson, Edinburgh, who, in his list of publications, ascribes
the composition to Sinclair. The original song consists of fifteen verses.
215. BEWAEE 0' BONIE ANN.
This song was written by Eobert Burns in compliment to Miss Ann
Masterton, whose father, the composer of the air, was an intimate friend
of the poet.
216. THIS IS NO MINE AIN HOUSE.
The melody given in the Museum to this song is an old air called " The
deal stick the Minister," contained in Henry Playford's "Original Scotch
Tunes," 1700. It receives the name of " Shaun Truish Willichan " in Eobert
Bremner's Scots Eeels or Country Dances, page 71, 1760. The tune, how-
ever, has been long discarded for the present air, of which Stenhouse gives
an early version " from Mrs Crockat's book, written in 1709." Ramsay is
said to be the author of the song.
217. MY WIFE'S A WANTON WEE THING.
This song is sung to a lively jig tune, which is found in Henry Play-
ford's "Original Scotch Tunes," 1700, called " Bride Next." We find it in
Mitchell's Highland Fair, a Scots opera, 1731, named " My Wife's a wanton
wi Thing," also in Oswald's " Caledonian Pocket Companion," book vi., and in
Aird's Selection, vol. i, 1782. The author of the song is unknown.
218. LADDIE LIE NEAE ME.
The air to the two songs in the Museum, named " Laddie lie near me,"
was not known to Burns. In September 1793, George Thomson sent the
poet a list of tunes which included it, and in answer the bard says, " I
do not know the air ; ' Laddie lie near me ' must lie by me for some time,"
etc. Our impression is that the tune first saw the light in Oswald's
"Caledonian Pocket Companion," book xii., about the year 17,60, and was
probably better known on the south side of the Tweed, as it was next
132 EAELY SCOTTISH MELODIES.
published by Eobert Bremner in the additions to M'Gibbon's Scots Tunes
in 1768. These reasons may not be conclusive, but we do not find the
songs anywhere prior to the Museum. Ohappell refers to a tune called
" Lady lie near me," but he admits it is not the melody which Thomson
sent to Burns.
219. THE BEISK YOUNG LAD.
The tune wedded to this old humorous song is called " Bung your eye."
Stenhouse informs us that it appears in Gow's Complete Eepository, part i.,
under this strange title. His knowledge of dance music collections, how-
ever, must have been very limited. The Eepository was published in
1799; but the tune, a country dance, was included in John Walsh's
" Caledonian Country Dances," entitled, " Bung your eye," nearly sixty years
earlier. It also appeared in Eobert Boss's "Choice Collection of Scots
Eeels, Country Dances, and Strathspeys," 1780, and in James Aird's
" Selection of Scotch, English, Irish, and Foreign Airs," 1782. The ballad
appears in Herd's " Ancient and Modern Scottish Songs," without mention
of any air, and this was probably adapted to it afterwards. "Who was the
author of the song has not been ascertained.
220. THE GAEDENEE WI* HIS PAIDLE.
The words of this song are by Burns. In former times most of the
trades had either a dance tune or a march connected with their body, and
this one is styled the "Gardener's March." Stenhouse tells us, "This
old tune has some bars which have a considerable affinity to a tune called
'The March of Charles the 12th, King of Sweden.'" After carefully
examining the two airs, we are unable to see the affinity. We are not
aware of any collection in which the " Gardener's March '' is printed prior
to Aird's Selection of 1782.
221. BONNY BAEBAEA ALLAN
It is not our intention to enter into the history of the ballad or ballads
known under the title of "Barbara Allan." Our purpose is to draw
attention to the melody. There are three distinct tunes of that name
claimed by Scotland, England, and Ireland respectively. Of the Scottish
and English Chappell says, "A comparison will show that there is no
s imil arity in the music." The English tune is in the major mode, and in f
measure, while the Scottish and Irish are in the minor mode, and in
common measure. The Irish air, given in Joyce's "Ancient Music of
Ireland," 1873, partakes somewhat of both the other Versions. Ireland has
THE SCOTS MUSICAL MUSEUM. 133
two bars in the first strain identical with the Scottish final bars in the
second strain, otherwise the progression of the two tunes is totally
different : where the Scottish ascends the Irish descends, and vice
versa. We have never seen any claim made for Ireland before Joyce's
publication, and we should like to know his authority for it. Our Scottish
melody is contained in Oswald's " Curious Collection of Scots Tunes," 1740.
There is not a single word as to the origin of the tune given in Stenhouse's
Illustrations, nor in the additional notes to that work.
222. YOUNG PHILANDER
Although the words of this song are contained in the second volume of
Eamsay's " Tea-Table Miscellany," they are directed to be sung to the tune
of "The Gallant Shoemaker." Stenhouse gives a tune so called in his
Illustrations, without informing us where he obtained it, but as he alludes
to Coffey's Opera of "The Female Parson," we conclude it is from that
source. The melody in the Museum we first discover in Adam Craig's
" Collection of the Choicest of the Scots Tunes," in or before 1730, next
in the Orpheus Caledonius, 1733. In both of these works it is named
"The Peer of Leith." The Scottish melody is entirely different from
" Philander," which Daniel Purcell set to a song in D'Urfey's Opera " The
Eise and Fall of Massaniello," 1699, and which afterwards appeared in the
first volume of the " Pills to Purge Melancholy," 1719.
223. ON A BANK OF FLOWEES.
This is not a Scottish tune, it was composed by a German musician
called Galliard, who died in London about the middle of last century.
224. THE DAY EETUKNS, MY BOSOM BUENS.
Tune — "Seventh of Novembek."
This song was written by Eobert Burns in compliment to his friend
Captain Eobert Eiddell of Glenriddell. The tune is one of Eiddell's
compositions, and was published in his " Collection of New Music for the
Piano-Forte or Harpsichord," 1787. The seventh of November is said to be
the anniversary of the Captain's marriage.
225. MY LOVE SHE'S BUT A LASSIE YET.
We are told by Stenhouse, " The title and the last half stanza of the song
are old : the rest was composed by Burns." This last half stanza is taken
134
EARLY SCOTTISH MELODIES.
from " Green grows the Rashes," in Herd's second volume, p. 224, 1776.
The tune has got the above title in Aird's "Second Selection," 1782.
Stenhouse says that it appears under the name of Lady Badinseoth's
Reel, in an old MS. copy inserted in page 8, vol. ii., of an original edition
of M'Gibbon's Scots Tunes, belonging to Mr David Laing of Edinburgh,
bookseller. M'Gibbon's second volume was published in 1746, but
that is no proof of the age of the tune; it might have been inserted many
years afterwards. It proves it to be a dance tune, however. In an addi-
tional note to Stenhouse's Illustrations, signed (C. K. S.), we are told that
" The old title of the air was ' Put up thy dagger Jamie.' The words to this
air are in Vox Borealis, or the Northern Discoverie, by way of dialogue
between Jamie and Willie,' 1641. ' This song,' says the author, ' was played
and sung by a fiddler and a fool, retainers of General Ruthven, Governor
of Edinburgh Castle, in scorn of the Lords and Covenanters for surrendering
their strongholds.' " The initials are those of' Charles Kirkpatrick Sharpe,
and the story is a romance ; there is neither an air given nor mentioned in
Vox Borealis. The tune of " My Love she's but a Lassie yet " is first printed
in Bremner's " Scots Reels or Country Dances," 1757, as Miss Farquhar-
son's Reel. We give the tune, "Put up thy Dagor Jennie," from a
transcript of the Blaikie manuscript, 1692.
Pot op thy Dacor Jennie 1692,
226. THE GABERLUNZIE-MAN.
Stenhouse says, " This ballad is attributed to James V, King of Scotland,
about the year 1524." He also regales us with his opinion, that the
tune in the Museum, though ancient, is but ill adapted to the ballad, and
that he had often heard it sung to the tune of " Muirland Willie," which is
as ancient as the ballad, and is probably the original. The words are
first printed in the first volume of the Tea-Table Miscellany, 1724, and the
tune in the Orpheus Caledonius of 1725. We shall speak, however,
more particularly about the tune. Tytler in his dissertation, published in
1779, at the end of Arnot's " History of Edinburgh," places it in an era
including James IV. and Queen Mary, though he does not ascribe it to
James V. Stenhouse has therefore added to Tytler's conjecture, but there
is a long interval between 1524 and 1725. If there was a tradition,
we put no faith in it, for had the ballad or tune been from the pen of the
THE SOOTS MUSICAL MUSEUM. 135
king we should have heard something about them long before 1725. The
tune is not found in any manuscript prior to the latter date, and we
believe it to be not older than the beginning of the eighteenth century.
227. CAULD FEOSTY MORNING.
Whether the air of this song is Irish, or belongs to the Highlands of
Scotland, there being rival claims to it, may be a difficult matter to
determine. There are many versions of the melody, all bearing a great
similarity in the first strain or theme, but differing considerably in the
following one, the Irish tune especially. In the Musick for the Scots Songs
in the Tea-Table Miscellany, circa 1726, it is called "Cha mi ma chattle;"
another version is found in the Mcfarlan MS., circa 1740 ; and in
Oswald's Caledonian Pocket Companion, book iv., 1752, we get it entitled,
" Cold Frosty Morning." The Irish version appears in Burk Thumoth's
"Twelve Scotch and twelve Irish Airs," named "Past one o'clock."
All these collections are prior to the Museum. Stenhouse in his note
quotes wrongly the first line of the song in the Museum: he has, '"Twas
past twelve o'clock on a cauld frosty morning," instead of " 'Twas past one
o'clock in a cauld frosty morning." We may state that the Highlands
appear to have the better claim to the tune in point of date.
228. THE BLACK EAGLE.
This song is by Dr James Fordyce. The air is found in the second
volume of James Oswald's " Collection of Curious Scots Tunes, dedicated
to the Prince of Wales," 1742, under the same title, and is one of the tunes
he attributes to David Bizzio. It also occurs in William M'Gibbon's
" Third Collection of Scots Tunes," 1755, as " The Bonnie Black Eagle " ;
from which it has been copied into the Museum, with an alteration in the
two last bars. "The high way to Edinburgh," in Oswald's Caledonian
Pocket Companion, is the same tune, and it-is found in the Blaikie -MS.,
1692, as " Woman's Work, etc." See page 59.
229. JAMIE COME TBY ME.
This tune is one of Oswald's compositions, and is found in his " Collec-
tion of Curious Scots Tunes," volume ii., page 26, entitled, " Jamy come try
me." He claimed it in book ii. of the " Caledonian Pocket Companion " by
putting his name to it. Stenhouse blunders by giving to the "Pocket
Companion " the date of the " Collection of Curious Scots Tunes." Of the
latter work he probably never heard, or at least never saw a copy. In no
other way can we account for many of his errors.
136 EARLY SCOTTISH MELODIES
230. MAGIE'S TOCHER.
In the first volume of the " Tea-Table Miscellany," this song is found,
beginning. "The meal was dear short syne/' Ramsay has put to it the
letter Z, to denote that it is an old one. The fine old tune to which it
is sung was printed with the words in Thomson's Orpheus Caledonius, 1725.
It also occurs in Playford's "Dancing Master," volume ii., 1728, and
in John Walsh's " Dancing Master," vol. L, under the name of " A trip to
Marrowbone."
231. MY BONY MARY.
This beautiful song was written by Robert Burns, with the exception of
the first four lines, which it is said he borrowed from an older song. The old
or original words stand no comparison whatever with those penned by
Burns. "We proceed now to quote what Stenhouse says about the tune, —
" This fine old air, called ' The Silver Tassie,' was recovered and communi-
cated by Burns." His statement would have been appreciated greatly had
he mentioned where he found the air under this name. Allan Cunning-
ham, in his edition of the " Works of Robert Burns," states that the poet
in his notes on the Museum says the air is Oswald's. In our opinion this
excellent melody is one of Oswald's finest compositions, and it is contained
in the " Caledonian Pocket Companion," book iv., entitled " The Secret Kiss."
It is also found in " Colin 's Kisses," published by J. .Oswald.
232. THE LAZY MIST.
The tune to this song occurs under the same title in Oswald's Caledonian
Pocket Companion, book xii. The words are claimed for Burns in the
Reliqu.es. Oswald in his collection annexed a considerable number of
melodies that ought not to have been included under the title of " Cale-
donian." There is no Scottish character whatever about this tune, and our
impression is, that it is thoroughly Irish in structure, and belongs to the
sister isle.
233. THE CAPTAIN'S LADY.
This strange old tune appears in Oswald's Caledonian Pocket Companion,
book vii., entitled " Mount my baggage." It is also found in Walsh's
Caledonian Country Dances, vol. ii., called " The Cady Laddie." Stenhouse
says John Walsh of London published the "Caledonian Country Dances"
about a century ago. His date, we think, is too early : though we have no sure
evidence, we should say the work was commenced about 1734. Stenhouse
THE SCOTS MUSICAL MUSEUM. 137
alludes to a Strathspey named " Dairy House," contained in Gow's Third
Complete Repository, which he says has been evolved out of this curious
old tune. His remark this time is assuredly well founded.
234. JOHNIE COPE.
In his note to this song, Stenhouse says, " This old air, which originally
consisted of one strain, was formerly adapted to some silly verses of a song
entitled ' Eye to the Hills in the Morning.' The chorus or burden of the
song was the first strain repeated an octave higher. An indifferent set of
the tune, under the name of ' Johny Cope,' appears in Oswald's Caledonian
Pocket Companion, volume ix." So much he states about the air, but he
cites no earlier source for a better set than Oswald; and gives no evi-
dence of the existence of any version of the tune prior to his work. Are we
to ^believe Stenhouse's assertion ? "We get from him also what he calls
the original words of the song, but we are doubtful if they are, as he
gives no particulars about their date. They are ascribed by him to Mr
Skirven, and he tells us there are several variations of the original, but so
far as we can judge, they cannot be styled improvements. We suspect
the song was not published till probably ten years after the rout at
Prestonpans. Oswald spells " Johnny."
235. I LOVE MY JEAN.
Tune — "Miss Admibal Gordon's Strathspey."
See Note 115, page 95.
236.
Tune — " Dear Mother, what shall I do.
The tune in the Museum bearing this name was an old and well known
one in Eamsay's lifetime, and he adapted it to his song in the Gentle
Shepherd, beginning " 0, dear Peggy, love's beguiling." Stenhouse refers
to the old words printed in addition to those of Eamsay, and says
they were " transmitted in a letter from Burns to the publisher, wherein
the bard says, — Dear Sir, the foregoing is all that remains of the old words.
It will suit the tune very well. — E. Burns." This, however, is no guar-
antee that they were the original words, nor that the tune was associated
with them. Stenhouse further adds, " The melody of this ancient song has
latterly been modelled into a reel tune in common time, now called ' The
Braes of Auchtertyre,' — see Gow's Repository, vol. i., page 20. The editor of
138
EAELY SCOTTISH MELODIES.
the Bepository, indeed, says that thexeel tune is the progenitor of the melody
joJ ihe-song." We consider Gow's assertion to be pure conjecture. Sten-
house then states, " The reel tune was modelled from the old air about the
year 1723, by James Crockat, son of the lady to whom the old manuscript
Music-book originally belonged, which has been so frequently referred to in
the course of this work. James Crockat gave his reel tune the strange
title of ' How can I keep my Maiden-head,' which was the first line of an
old indelicate song now deservedly forgotten. The first attempt to make
the old tune into a reel, in the handwriting of James Crockat, is now in the
possession of the editor. Bremner altered the old title, and published the
tune about the year 1764, under the name of ' Lennox's Love to Blantyre.'
It is now called The Braes of Auchtertyre. Many of our modern reel
tunes, strathspeys, jigs, etc., are indeed palpably borrowed from the subjects
of our ancient vocal melodies. Several instances of this fact have been al-
ready pointed out in the preceding part of this work, and the reader will
find more of them in the course of the sequel."
This long passage of Stenhouse we have produced in its entirety, as
we wish to point out its many errors, and to shew its absurdity. As we
have already remarked on the relation of dance tunes to vocal melodies,
we shall not return to that subject in this note. It is evident that Sten-
house was ignorant of our national dance music, or at anyrate was
unacquainted with many collections of reels, strathspeys, jigs, etc. Our
first observation is on his note on song Kb. 483, " The "Wren, or Lennox's
Love to Blantyre," where he states — " This tune is modelled from the air
called ' dear, Mother, what shall I do.' " Now we aver, that if any
mortal with either eyes or ears says there is the least relationship between
the two tunes, he is simply insane. Had he known Bremner's Eeels, he
could not have said that " Lennox Love " is now " The Braes of Auchter-
tyre," nor that Bremner had given a new name to the tune. It was
known as '' Lennox love to Blanter " nearly fifty years before it was pub-
lished by Bremner. John Walsh inserted it under the name of " How
can I keep my Maiden-head," in his Caledonian Country Dances, vol. ii.,
circa 1736. The most curious point is, how did Crockat turn " dear,
Minny, what shall I do " into " Lennox love to Blantyre," or why has he
called it '' How can I keep my Maiden-head " ? The fact is, both of the
tunes are contained in Margaret Sinkler's Musick-Book, 1710, entitled
respectively, "0, Minie," and "Lennox love to Blanter." What has
become of James Crockat's first attempt ? It would be a curiosity.
OMnna
< i jrj;iJ%4Hir Jj ' | g
1710.
ri f f i crTrr>iifr f nirirte EF
THE SCOTS MUSICAL MUSEUM. 139
237. THE LINKIN LADDIE.
The melody, which it is said Burns transmitted to Johnson with the
words of this song, is without doubt a modern mongrel. The first strain
is nearly note for note the same as "Jenny, come down to Jock,"
and the second strain bears a great resemblance to "Here's to the
Maiden of bashful fifteen." Stenhouse assumes the second strain to
resemble " Saw ye Johnie coming, quo' she," but " The Linkin Laddie "
would require a considerable manipulation and change of measure to turn
it into that air. The tune, so far as we know, appears for the first time in
the Museum.
238. ALLOA HOUSE.
The melody adapted to this song by the Eev. Dr Alexander Webster was
composed by James Oswald, and published in his " Curious Collection of
Scots Tunes," 1740. He entitled it " Alloway House," and in the index to the
Caledonian Pocket Companion, placed an asterisk at it to denote his own
composition. The tune is one of his best efforts. Stenhouse, merely to
have something to say, expresses a doubt about the locality of the song or
air from the different spellings, but it is evident " Alloa " is meant, as
Oswald resided in Dunfermline, and the two towns are at no great distance
from each other.
239.
Tune — "Carle, an' the King come."
Our intention is not to allude to the song or words, however old, but to
mention that the tune is referred to in the first volume of the " Tea-Table
Miscellany." The air itself is contained in the Musick for the Scots Songs
in the Tea-Table Miscellany, circa 1726. It occurs also in the Music for
the Gentle Shepherd, 1736, in M'Gibbon's Third Collection of Scots Tunes,
1755, and in Oswald's Caledonian Pocket Companion, book vi., page 13. The
versions are all different from one another, including that of the Scots
Musical Museum. Dauney's statement that " The new way of "Wooing "
is the same tune is somewhat doubtful.
240. THE SILLEE CEOWN.
We are informed by Stenhouse that " This fine song was published by
Napier as a single sheet song, from which it was copied into the Museum,
but neither the author nor the composer are yet known." We are somewhat
140 EAELY SCOTTISH MELODIES.
doubtful as to the sheet, having never seen one: and the tune is not taken
from Napier's Selection, which appeared almost simultaneously with the
third volume of the Museum. Patrick Maxwell, Esq., in his edition of
Miss Susanna Blamire's Poems, assigns the song to that authoress.
241. ST KILDA SONG.
This air is found in the Eev. Patrick M'Donald's Collection of Highland
Vocal Airs, etc., 1784. Stenhouse says " the song is. a translation by
M'Donald of a favourite Gaelic song sung by the natives of St Kilda, the
most remote of the Western Isles of Scotland." It is certainly not a trans-
lation, as the St Kildans have neither ivy nor willows. In an additional
note, we are told that the author (not translator) of the song is Andrew Mac-
donald, son of George Donald, a gardener near Leith, where he was born in
1757. He prefixed Mac to his name on becoming a clergyman of the Epis-
copal Church, a vocation afterwards relinquished for literary work. He
published under the nom de plume of Matthew Bramble. His death
occurred in 1790.
242. THE MILL, MILL, !
The words of this song were written by Allan Eamsay, and published by
him in 1721. Stenhouse states, " This beautiful Scottish melody is very
ancient, and is inserted in Mrs Crockat's MSS., written in 1709." We
doubt this affirmation, because, as is his custom, he did not refer to
any older words than Bamsay's. Still, the air may be as early as 1709,
but having had no opportunity of examining the manuscript, we can-
not positively admit it. That it existed before 1721 we allow, as the tune
given by William Thomson differs from that of Allan Eamsay ; the latter,
however, has the better first strain, while the former is superior in the
second, a fact which points to various versions being current at the time.
The air is first found in print in the Orpheus Caledonius, 1725, and again it
occurs in the Musick for the Scots Songs in the Tea-Table Miscellany, circa
1726. Barsanti, M'Gibbon, and Oswald include it in their collections.
Eobert Burns's beautiful song, " The Soldier's Eeturn," is sung precisely to
the set of the melody given by Francis Barsanti in 1742.
243. THE WAEFU' HEAET.
Stenhouse says in his note, " Both the words and music of this elegant
and pathetic song were taken from a single sheet printed at London about
the year 1788, and sold by Joseph Dale, No. 19 Cornhill; sung by Master
Knyvett. From these circumstances I am led to conclude that it is a
modern Anglo- Scottish production, especially as it does not appear in any
THE SCOTS MUSICAL MUSEUM. 141
of the old collections of our songs." This is one of Stenhouse's droll dis-
coveries and conjectures, which has heen copied by many compilers. A
footnote on page 62 of Dale's Collection of Sixty Scotch Songs, 1794, clearly
proves that the sheet was published subsequent to the collection. It was
unlikely that Johnson should copy from Dale, as he published the song in
1790, and probably engraved both the words and music for Domenico Corri's
" New and Complete Collection of the most favourite Scots Songs," book ii.,
1783. Corri added to the title of the song, " Scotch Air," which we may
suppose to be correct. According to Brown and Stratton's British Musical
Biography, 1897, Master Knyvett was born in 1779, so he was only four
years old when Corri published his collection ! Patrick Maxwell, Esq., the
editor of Miss Blamire's Poems, etc., believed that lady to be the authoress
of the verses.
244. LASS, GIN YE LO'E ME, TELL ME NOW.
This song, which is of the comic or humorous type, is said to be very
ancient. Similar ones are found in Scotland as well as England at early
dates. We are doubtful, however, of the versions given in the Museum and
Herd's Collection of 1776; in the latter of which it is classed among
" Fragments." The English songs are different both in words and music
from that in the Museum. The tune has evidently been taken from James
Aird's " Selection of Scotch, English, Irish, and Foreign Airs," vol. ii., 1782.
It is not printed in any earlier collection, so far as we know, nor is it found
in any manuscript prior to that date. Bitson has copied every word and
note, both of song and tune, from the Museum. Some individuals consider
the tune to be ancient from its construction, but that is entirely conjecture,
— a house can be built in an old style, a ship on old lines, and a melody
composed without the intervals of the fourth and seventh of the scale,
without proving an early date.
245. THE LOVEE'S ADDKESS TO EOSE-BUD.
By a Lady.
The words of this song, and the composition of the air, are due to a Lady
Scott of Wauchope. The tune appears to us to be the result of an ambi-
tious attempt to produce a fine melody, which has resulted in complete
failure.
246. CEASE, CEASE, MY DEAE FEIEND, TO EXPLOEE.
The Eev. Dr Blacklock, we are informed, is the author of this song, as
well as the composer of the tune to which it is sung. According to Sten-
hbuse, both were given to Johnson for insertion in the Museum.
142 EAELY SCOTTISH MELODIES.
247. AULD EOBIN GEAY.
The air which is given to the words of this song in the Museum is said
to be old, and was known by the title of " The Bridegroom grat when the
Sun gaed down." We have not found the melody under this name in any
collection, but it appeared with the words of " Auld Eobin Gray " in Neil
Stewart's Thirty Scots Songs, 1781, and though we have failed to find it
earlier, we do not doubt its Scottish origin. This tune has been
superseded by another of decidedly dramatic character, and English
composition, claimed by a clergyman named the Eev. William Leeves
of Wrington. This gentleman first asserts his claim to the melody
in the year 1812, when he published " Six Sacred Airs or Hymns."
In his preface to that work he informs us that "in the year 1770,
when residing with his family at Eichmond in Surrey, he received
from the Honourable Mrs Byron a copy of Lady Ann Lindsay's verses,
which he immediately set to music.'' He then adds, "it may not be
unsatisfactory to declare, which can be done with the clearest conscience,
that he never heard of any other music than his own being applied to these
interesting words, till many years after that was produced, to which he now
asserts an individual claim ; that his friend Mr Hammersley was well ac-
quainted with this Ballad long before its surreptitious appearance in print ;
and the still more convincing testimony might be added of a respectable
relation now residing at Bath (12th June 1812), who was on a visit to the
author's family at Eichmond when the words were received and the first
manuscript (of the music) produced." The story of the reverend gentle-
man (who seems to have been a veritable " Kip Van Winkle ") appears
somewhat doubtful. Eobert Chambers and others say that 1772 was the
date when the words were written; the tune which Leeves claims was
published along with the original melody twenty-nine years before he
made his assertion, by Corri and Sutherland in Signor Corri's New and
Complete Collection of the most favourite Scots Songs, 1783. The first
verse is headed — " Auld Eobin Gray," Scotch Air, and the remaining verses
have prefixed to them— New Sett of " Auld Eobin Gray," the latter being
the subject of Leeves' claim. Both versions appeared in Calliope, 1788, and
afterwards in other works. Mr Leeves has not explained how his alleged
tune got surreptitiously printed. The ballad is printed in the second
volume of Herd's Ancient and Modern Scottish Songs, 1776, page 196.
248. LEITH WYND.
This tune is none other than " Hap me wi' thy Petticoat." In Craig's
Collection of the most Choice Scots Tunes, it is found very much
THE SCOTS MUSICAL MUSEUM. 143
embellished, under the title of " Leith Wynd." The words of this song,
beginning, " "Were I assured you'd constant prove," were written by Allan
Eamsay for his " Gentle Shepherd," and the tune in the Tea-Table Mis-
cellany receives the name of " Leith Wynd." It is printed, however, in the
Orpheus Caledonius, 1725, entitled, " Hap me wi' thy Petticoat," and has
that name given to it in Eobert Bremner's Music for the Gentle Shepherd,
published in 1760.
249. WHISTLE O'EE THE LAVE O'T.
Stenhouse says, " The air was composed about the year 1720, by John
Bruce, a musician in the town of Dumfries, and Oswald afterwards pub-
lished it with variations in the last volume of his Caledonian Pocket Com-
panion." Mayne, the author of " The Siller Gun," 1836 edition, in his
notes to the poem, states, "John Bruce was born at Braemar; he was
actively engaged in the Bebellion of 1745, but was taken prisoner, and for
a time confined in Edinburgh Castle. He afterwards settled at Dumfries,
where he spent the remainder of his days. Burns supposed him to have
been the composer of the favourite Scots air of ' Whistle o'er the lave o't,'
but this opinion is altogether erroneous, for althoiigh John Bruce was an
admirable performer, be never was known as a composer of music. The air
■ in question was composed long before he existed." Such is Mayne's com-
ment on Burns's statement. It would have been more convincing had
Mayne indicated the source of the air before Bruce, instead of contra-
dicting Burns. There seems to have been a craze to manufacture anti-
quity for some tunes, without adducing the least proof in support of the con-
tention. John Mayne was born in the same year as Burns — 1759. He
left Dumfries about 1782. Burns went to Ellisland, near Dumfries, in 1788,
and died in that town in 1796. Both Mayne and Burns seemed to have been
acquainted with Bruce. In the year 1788 Johnson received " Whistle and
I'll come to you, my lad," and in 1790 he published " Whistle o'er the
lave o't " ; so we may infer that Burns knew John Bruce, whom he
described as " an honest man, though a red-wud Highlander who constantly
claimed it," — i.e., the tune of " Whistle and I'll come to you, my lad." In
our opinion, Burns was likely to know Bruce's claims better than Mayne,
being more interested in the subject, through his two songs. The tune
under review, " Whistle o'er the lave o't," is contained in the 7th number
of Eobert Bremner's Eeels, &c, 1759, and with variations iji Oswald's Cale-
donian Pocket Companion, book xii., of the same date. We are unable to
say whether Stenhouse's date, 1720,is correct, aswe neither know when Bruce
was born nor when he died. Dauney, in his Ancient Scottish Melodies,
page 145, says, " My Ladie Monteith's Lament," in the Blaikie MS., is
" Whistle o'er the lave o't." If this statement is correct it defeats Bruce's
claim, but as the manuscript has disappeared we cannot verify it.
144 EARLY SCOTTISH MELODIES.
250. TAK' YOUR AULD CLOAK ABOUT YE.
We are unable to trace this Scottish song in print to a more remote
period than the first volume of Ramsay's Tea-Table Miscellany, though it
is said to be of a much more ancient date. Shakespeare gives a snatch of it
to Iago in Othello, but gives King Stephen in place of King Robert. The
air we find first printed in Oswald's Caledonian Pocket Companion, book
ii., page 29, circa 1745, but not in the first edition. Bremner afterwards
gives a much better version in his Thirty Scots Songs, 1757. The tune
has long been a favourite one. In a footnote given by Chappell in " The
Popular Music of the Olden Time," page 505, he states, " I may here remark
that the tune to Take thy old cloak about thee (one of the ballads quoted by
Shakespeare) is evidently formed out of Green Sleeves. The earliest known
copy of the words is in English idiom in Bishop Percy's folio manuscript,
and I have little doubt that both words and music are of English origin."
"We may remark that there is not the least affinity between the tunes, as a
comparison of the two versions of Green Sleeves printed by Chappell with
the air of " Tak your auld cloak about you " will satisfy any candid reader.
251. HAPPY CLOWN.
The song in the Museum was written by Allan Ramsay for his Pastoral
" The Gentle Shepherd " ; he had also another in The Tea-Table Mis-
cellany, — both are in vol. ii. The tune, however, is no doubt an English
one, which does not appear in any of our collections before The Caledonian
Pocket Companion, book vii., 1755, and five years later in Bremner's Songs
in the Gentle Shepherd. Stenhouse says it is contained in Mrs Crockat's
MS., 1709.
252. DONALD AND FLORA.
Stenhouse informs us that this song was written by Hector Macneill on
an officer who fell at the Battle of Saratoga, in America. He also says,
" The words are adapted to a fine old Gaelic air." The song with the same
words as the Museum appears with the music in " The Musical Miscellany,"
printed by J. Brown, Perth, 1786.
253, 254. BY THE DELICIOUS "WARMNESS OE THY MOUTH.
These two numbers are but one song with chorus, though Stenhouse says,
" Both these songs were inserted without music in the Pastoral of ' Patie
and Peggy,' which was published some years before Ramsay wrote his
comedy of the Gentle Shepherd." Ramsay, however, printed it in his
THE SCOTS MUSICAL MUSEUM. 145
Poems, 1721, without any allusion to a Pastoral, under the title of " Patie
and Pegie," A Song. He made no mention of any air, but this appeared in
the Musick for the Scots Songs in the Tea- Table Miscellany, circa 1726.
It may be a composition of some musical friend of Eamsay, as Stenhouse
says, but this we cannot affirm. We may state that the melody is not devoid
of merit, though it has none of the characteristics of a Scots tune. It is
not found in any collection of Scots tunes previous to 1726.
255. 0, WEEE I ON PAENASSUS HILL.
Tune — "My Love is lost to Me."
This very beautiful melody is the composition of James Oswald, and it is
included in his " Caledonian Pocket Companion," book v., page 25. In
compass it is rather extensive for the voice, but could be judiciously
altered. The song was written by Eobert Burns.
256. SONG OF SELMA.
This air, Stenhouse says, is another of Oswald's compositions. We have
not been able, however, to discover it in any of his works known to
us. Neil Stewart published the tune with the words in his Thirty
Scots Songs for a Voice and Harpsichord, 1781 ; from which source it has
evidently been copied into the Museum.
257. THE CAPTIVE EIBBAND.
"A Gaelic Air."
The tune is a Highland one called " Eobie donna gorrach," or " Daft
Eobin," and is contained in D. Dow's "Ancient Scots Tunes," circa 1775, also
in the Eeverend Patrick M'Donald's " Collection of Highland Vocal Airs,"
etc., 1784. It is contained also in the M'Farlan MS., 1740.
258. THEEE'S A YOUTH IN THIS CITY.
"A Gaelic Aik."
The tune to which this song is adapted is none other than Niel Gow's
Lament for the death of his brother Donald. It is claimed by Niel Gow,
and is published in his " Second Collection of Eeels," etc., 1788.
259. MY HEAETS IN THE HIGHLANDS.
Tune — "Failte na miosg."
This song is adapted to a melody bearing the above Gaelic title found in
146 EARLY SCOTTISH MELODIES.
James Oswald's " Curious Collection of Scots Tunes," which he dedicated
to the Duke of Perth, 1740. It occurs again in his Caledonian Pocket
Companion, book L, page 22. The English name of the tune is " The Mus-
ket's Salute."
260. JOHN ANDERSON MY JO.
See English Claims, page 25.
261. AH ! WHY THUS ABANDON'D, &c.
Neither the author of this song nor the composer of the tune are known.
Johnson received anonymously the verses and music, which Burns con-
sidered worthy of a place in the Museum.
262. DEIL TAK' THE WARS.
Stenhouse says, " This beautiful air was early introduced into England."
We think it would be more correct to say introduced into Scotland, as it
has not the least character of an early Scots tune ; besides, the original
words are by Tom D'Urfey. Stenhouse adds, " Both the words and the
music (D'Urfey's) appear in the first edition of the Pills in 1698, and the
tune may be seen in a " Collection of Original Scotch Tunes " published by
Henry Playford in the same year." We are unable to verify this statement,
as we have not seen that edition of the Pills, but the tune is not contained
in Playford's " Collection of Original Scotch Tunes," dated, not 1698, but
1700. Stenhouse seems to have given dates at random.
263. AWA, WHIGS, AWA.
The tune in the Museum is not that which is now sung to the song.
Stenhouse says, " This is undoubtedly one of our oldest melodies. I have
now lying before me a very ancient copy of it in one strain, entitled ' Oh,
silly soul, alace ! ' The second strain appears to have been added to it, like
many others of this kind, at a much later period," etc. He also says, " the
ancient air of ' Oh, silly Soul alace ! ' is evidently the progenitor of the
popular tune called . . . 'My Dearie an thou die.'" For the following
reasons we are inclined to differ from his conclusions. " Awa, Whigs, awa,"
is not found in any Scots collection before book vi. of the " Caledonian
Pocket Companion," page 19 ; nor are the words contained in any early
publication. Our opinion is, that instead of "My dearie an thou dye"
having been constructed from "Awa, Whigs, awa," the reverse is the
case ; it is only in the second strain that there is any resemblance. The
only tune called " Oh, silly Soul Alace " we know is contained in the Skene
THE SCOTS MUSICAL MUSEUM. 147
MS., but it bears no resemblance to the tune under notice. We may
further mention, " Awa, Whigs, awa " seems to be indebted to " Hey tuttie
tati " for four bars in the first strain. " My Dearie, if thou Dye " is in
the Blaikie MS., 1692, and has two strains.
264 CA' THE EWES TO THE KNOWES.
In a letter from Burns to George Thomson, of date September 1794, he
says, "lam flattered at your adopting ' Ca' the yowes to the knowes,' as it
was owing to me that it saw the light. About seven years ago, I was well
acquainted with a worthy little fellow of a clergyman, a Mr Clunie, who
sung it charmingly, and at my request Mr Clarke took it down from his
singing." This is all the history we have of either song or melody.
265. HIGHLAND SONG.
This, we are informed by Stenhouse, has been copied entirely from Sib-
bald's "Edinburgh Magazine," 1785. Gaelic words, translation, and music.
Alexander Campbell, in his " Albyn's Anthology," 1816, p. 53, states that
" This original Hebridean air was noted down from the mouth of a young girl,
a native of the Lewis, by an accomplished lady (a namesake of the Editor), in
1781. In the Edinburgh Magazine for anno 1785, this fragment, for it is
no more, will be found as given by the present Editor to the late Mr James
Sibbald."
266. THE JOLLY BEGGAR.
Stenhouse gives the following account of this song: "This very humorous,
though somewhat licentious Ballad (words and music), is uniformly
attributed to James V. of Scotland, about the year 1534." He does not
state on what grounds (historical or traditional) the monarch is credited
with the composition. We are inclined to think its basis rests upon some
chap-book story. The words are in Herd's " Ancient and Modern Scottish
Songs," &c, 1776, without reference to any King James. The tune occurs
in Oswald's " Caledonian Pocket Companion," book ix., page 16, called " The
Beggar's Meal Pokes," composed by King James VI. Our belief is that
both statements are absurd ; the tune has modern stamped upon it, and we
suppose the words to date about 1750.
267. I LO'E NA A LADDIE BUT ANE.
In his Illustrations, Stenhouse remarks that our Scots tune has a strik-
ing similarity to the Irish " My lodging is on the cold ground." Chap-
pell, however, avers that the tune is not Irish, but English, and states it was
first printed in " Vocal Music, or, The Songster's Companion," 8vo., 1775, and
148
EARLY SCOTTISH MELODIES.
he refers to the opinion of Bunting, along with four other authorities, who
agree that it is not an Irish melody. J. M. "Wood, in the " Popular Songs of
Scotland," 1887, expresses himself as follows: "The air has been claimed
alike by England, Scotland, and Ireland : the probability, however, seems
to be that it is an old English dance tune, and that the Scottish- version,
with the long note in the 2nd and 6th bars, is an early form of it {see
Aird's Collection, Glasgow, 1784)." This conjecture is not, however,
supported by any evidence. The version in Aird's Selection, 1782, is called
" My lodging is on the cold ground " ; it is almost the present form of " I lo'e
na a Laddie but ane," but was probably used as a quickstep. The words of
the Scottish song were published in 1779. Eitson has the song by " J. D.,"
but we presume he has copied from " The Scots Nightingale," where " I.D."
is appended to the words, and the song is preceded by "Happy Dick
Dawson," which he names as the melody. Though we have not got the
Scottish tune printed as early as 1775, it is still undetermined whether
the curtailed air, as Chappell calls it, or "My lodging is on the cold
ground," is the original. As a lively tune, the Scottish one excels. Mr
Moffat, in his Minstrelsy of Scotland, errs in saying " this air belongs to the
17th century : it is the composition of Matthew Locke, and is therefore
English." Locke's tune is entirely different, and has been superseded for
more than a century.
MY LODG1NU IS UA -IOU WUV UilUUIUA 1975
I LO'ED NA A LADDIE BUT ANE.
AniAjuUir"ftfi%ni jj'iijjujt 1 in i/ i j|jjjit,jit i
268. I'LL MAK' YOU BE FAIN TO FOLLOW ME.
We quote the following from Stenhouse's Illustrations : " Ramsay in-
serted a song by an anonymous hand to this lively old tune, beginning
' Adieu, for a while, my native green plains,' in the second volume of his
Tea-Table Miscellany, but he omitted the original song, beginning ' As late
by a soldier I chanced to pass,' now inserted in the Museum. The tune
appears in Oswald's Collection, and in many others." Stenhouse cites no
earlier authority for the air than Oswald, who gives it in his Caledonian
THE SCOTS MUSICAL MUSEUM. 149
Pocket Companion, book ix., page 10, but the melody appears to have been
known about fifty years before Oswald's publication, as the tune is written
twice in Margaret Sinkler's Musick Book, 1710. It is not named, and
seems to have been written the second time owing to mistakes in the first
copy. We cannot say whether or not the song in the. Museum is the
original, and Stenhouse does not refer to any copy of the words prior to the
Tea-Table Miscellany. From the edition of 1734, we find that the song
" Adieu for a while " was written by Eamsay.
269. THE BEIDAL O'T.
Tune — "Lucy Campbel."
The tune adapted to this song is a strathspey called " Miss Louisa Camp-
bell's Delight," which makes its first appearance in Alexander M'Glashan's
:< Strathspey Eeels," 1780, a short time previous to the publication of Angus
Cumming's collection. The tune seems to have been a favourite, and was
probably a composition of about that date. Gow in his collection has not
changed the name of the tune, but Cumming has applied Gaelic titles to
the tunes in his publication, which in some cases had English names
previously.
270. MEEEY HAE I BEEN TEETHIN' A HECKLE.
Tune — "Boddich na'mbrigs, or Lord Breadalbines March."
This tune is a Highland melody taken from Daniel Dow's " Collection of
Ancient Scots Music for the Violin, Harpsichord, or German Flute, never
before printed," etc., circa 1775. It is to be found on page 32 under the
above title. The tune is a favourite bagpipe march.
271. A MOTHEE'S LAMENT FOE THE DEATH OF HEE SON.
Tune — " Finlayston House."
This song was written by Burns in 1789, and sent to Johnson for inser-
tion in the Museum. The poet desired it to be set to the air called " Finlay-
ston House," the composition of Mr John Eiddell, which was accordingly
done by Mr Clarke. " Finlayston House " was published in the 2nd edition
of John Eiddell's " Collection of Scots Eeels, Minuets," etc., 1782, but
whether it appeared in the first edition we are unable to say. D. Laing,
who describes the title of Eiddell's first publication, places its date circa
1776, but we think that is too late by ten or twelve years. Vide the
biographical sketch of John Eiddell, in the " Glen Collection of Scottish
Dance Music," book i., 1891, and page 256 of this work.
150 EAELY SCOTTISH MELODIES.
272. THE WHITE COCKADE.
The tune to this Jacobite song made its first appearance in print under
the title of " The Eanting Highlandman," in Aird's " Selection of Scotch,
English, Irish, and Foreign Airs," 1782, in which work it is the first tune.
In a recently published volume entitled " Stories of Famous Song," by C. J.
Adair Fitzgerald, a most absurd claim is made that the air is Irish. He
says, " ' Clarach's Lament/ by John M'Donnell, supplies the air for the
Scottish song," without the least evidence being given to support the
statement. This is not the only irrational claim in his volume.
273. ORAN GAOIL.
A Gallic Song translated by a Lady.
This tune with the same title is contained in Corri's " New and Complete
Collection of the most favourite Scots Songs," 1783. It has but one Gaelic
verse in that publication. Stenhouse expresses himself in the following
terms on the subject of Highland tunes, which so far we consider correct:
" It may be remarked, however, that almost every Highland family of rank
and fortune have long been in the habit of sending their children to the
low country for their education, in which music has always been one of the
principal ornamental branches. There cannot be a doubt, therefore, that
the airs peculiar to Tweedside, Ettrick, Leader, Yarrow, Gala, etc., have
long been as familiar to the Highlanders as to the inhabitants of those Low-
land pastoral districts where they had their origin."
We may state that, in the Pipers' College in Skye there was no musical
notation employed : the pupils were taught entirely by ear ; the teacher
playing the tune, or humming it in words formed of syllables having no
meaning in Gaelic, nor equivalents in music, to assist the memory. We
have tne testimony of a gentleman who has lived in different parts of the
Highlands, where only Gaelic is spoken, and who assures us that he
has heard many airs claimed as Highland that have been known for
more than two centuries in the Lowlands, which they believe to be
indigenous, but have simply travelled north. We believe the melody is a
Highland one, notwithstanding Irish or other claims ; and if the " Old
Jew " in Oswald's Caledonian Pocket Companion is the same air, the only
resemblance is in the first strain. Fraser has altered his progenitor's
version in a later edition : can we depend on what he alleges ? He gives
no reason for the change.
274. SANDY O'ER THE LEE.
Both the song and the air given in the Museum are Anglo-Scottish.
The tune was composed by James Hook, who furnished a number of song
THE SCOTS MUSICAL MUSEUM. 151
tunes for the Vauxhall Garden concerts of the last century. Stenhouse in
his notes gives what he says is an earlier Scottish air of the same title,
taken from a manuscript that belonged to Mr Bremner, and afterwards to
bis successor, Mr Bryson. He states that " the words are nearly similar to
those Mr Hook had recourse to when he composed his air." Stenhouse
also mentions a mongrel tune in Gow's Second Bepository, called "He's aye
kissing me," but this was probably not intended for the same song as
" Sandie o'er the Lee," in Gow's Second Collection, which is the old air
with considerable alterations. What the words of the Scottish song were
we do not know.
275. TODLEN HAME.
, This song is contained in Eamsay's Tea-Table Miscellany, vol. ii.
The air is well known, and is now sung to " My ain Fireside." It
has received at various times slight alterations, and assumed different
names, such as " Armstrong's Farewell," " Bobie donna gorrach," " Earl
Douglas's Lament," " Lude Lament," and others, but these have all appeared
at later dates. The tune in the Museum is not the one given in the
Orpheus Caledonius, 1733, under the title of "Todlen butt and todlen ben."
276. THE BEAES 0' BALLOCHMYLE.
The air to this song was composed by Allan Masterton, the companion of
Burns, already alluded to. It is quite a gem of melody, which the bard
seemed to be fond of, as he wrote for it another beautiful song, " The Lass
o' Ballochmyle," besides the one in the Museum. The air, which is not too
extensive for the voice, is very pleasing and effective. George Thomson
inserts in his fourth volume, 1805, " written for this work," whereas John-
son published it in 1790.
277. THE EANTIN' DOG THE DADDIE O'T.
Tune, — "East nook o' Fife."
This song Johnson gives in the Museum as an old song with additions or
corrections, having placed the letter Z to it, but Stenhouse says the verses
were written by Burns, and " originally intended for the air of ' Whare will
our Gudeman lie,' which would have suited them better." "We are not
aware that this was the bard's intention, and cannot say that the tune
mentioned would have been an improvement, but probably " 0, gin you
were dead, Gudeman " was the one meant, the tune now sung to
"There was a lad was born in Kyle." Burns did not contribute
" There was a lad was born in Kyle " to either Johnson's Museum
152 EAELY SCOTTISH MELODIES.
or to Thomson's Songs, and Allan Cunningham states that the original
air was " Dainty Davie." The " East nook o' Fife " is an old Scots measure,
which first occurs in Oswald's " Caledonian Pocket Companion," book iv.,
page 5, 1752, as " She griped at ye greatest on't." M'Gibbon has it in his
" Third Collection," 1755, and Bremner in his " Curious Collection," 1757 ;
the title in both being " The East nook o' Fife." It is a very lively tune.
278. THE SHEPHERD'S PREFERENCE.
We are unable to find the melody to which this song is adapted in any
Scottish collection prior to the Museum. Our impression is that the tune
is an Irish one, a fact on which our friends across the Channel probably
found their claim for " whistle and I'll come to you, my Lad," as there
is a slight resemblance between the tunes.
279. MY MARY, DEAR DEPARTED SHADE.
Tune — "Captain Cook's Death," &c.
The tune to which the words of this song are adapted is the composition
of Miss Lucy Johnston of Hillton. She became the Mrs Oswald of
Auchincruive, to whom several musicians dedicated their collections of
dance music, about the end of last century.
280. HARDYKNUTE : oe, THE BATTLE OF LARGS.
In his Illustrations to Johnson's Museum, Stenhouse has given a long
account of the Battle of Largs, as connected with this ballad, but
in regard to its age he has been studiously cautious. He says, "that
such a celebrated personage as ' Lord Hardyknute ' ever existed in Scot-
land has not yet been discovered in any of her annals : the name there-
fore must either be fictitious or corrupted," etc. Again, " It is equally im-
probable that so important a battle as that of Largs, and the actions of
those gallant heroes who obtained so signal a victory, remained unnoticed
and unsung by the Scottish bards of that era. That such a ballad indeed
did exist there seems little reason to doubt, for Mr William Thomson (a
person of whom we have scant knowledge), who was one of the performers
at Edinburgh in 1695, and afterwards settled in London, solemnly assured
Mr Tytler of Woodhouselee, and Dr Clarke, that he had heard several
stanzas of it sung long before its first appearance in print, in 1719. Nay,
more, — Oswald, who was born about the beginning of last century, has in
his Caledonian Pocket Companion preserved the very tune.'' These
assertions of Stenhouse amount to very little, as we shall shew. The
THE SCOTS MUSICAL MUSEUM. 153
ballad has not been traced to a more remote date than near the end of the
seventeenth century, and the original is evidently the composition of Lady
Elizabeth Wardlaw, in Mo, a mere metrical romance founded on the battle.
It may as well be asserted that Eobert Burns did not write " Scots wha
hae," but that it was penned shortly after Bannockburn was fought, and he
put it only in a more modern form. That William Tytler of Woodhouse-
lee had any solemn assurance from "William Thomson we have great reason
to doubt, as according to Burney, Thomson had a benefit concert in 1722,
presumably in London ; and when he published his "Orpheus Caledonius" in
1725, he resided in Leicester Fields. At the latter date, Tytler was only
in his 14th year, and in his 21st year when Thomson published his second
edition in 1733. Nothing has been learned of the latter's subsequent his-
tory. Our opinion is that Thomson and Tytler were unknown to one another.
The reference to Oswald's " Caledonian Pocket Companion," book v., which
was published about 1754, was unnecessary, as the tune is printed in the
"Second Collection of Curious Scots Tunes," dedicated to the Prince of
Wales, in 1742. Thomson could not possibly have told Tytler that he
heard several stanzas of the ballad sung long before 1719.
281. EPPIE ADAIR
The melody to which this song has been adapted is found in Oswald's
Caledonian Pocket Companion, book xi., page 19, called "My Appie," not in
book xii., as erroneously stated by Stenhouse. Burns is said to have con-
tributed the song to Johnson.
282. THE BATTLE OF SHEEEA-MOOE.
Tune — "Cameronian Eant."
Stenhouse in his note tells us that Johnson was fond of the tune "which
is called the Cameron's March, and sometimes ' The Cameronian's Eant or
Eeel.' " We have never seen the first name applied to the tune, and
it is evidently a mistake. It is a reel, which appears in print under the
latter title in D. Eutherford's " 24 Country Dances, for the year 1750."
Oswald has it in " The Caledonian Pocket Companion," book xi, and Walsh
in his "Caledonian Country Dances," volume ii., part 1st (which means
book v. of the work), and its publication may be anterior to Eutherford's
Country Dances.
283. SANDY AND JOCKIE
This is Anglo-Scottish, or at least a parody on a song and tune of the
154 EAELY SCOTTISH MELODIES.
Grub Street species, which appeared in the first volume of " Calliope, or
English Harmony," about 1739, published by Henry Eoberts, London. It
was entitled in that work " Jenny's Lamentation."
284. THE BONIE BANKS OP AYE.
This song Burns believed would be the last from his pen before leaving
his native Caledonia. His prospects, however, were entirely changed by
the advice he received from Dr Blacklock, and instead of leaving the
country for Jamaica, he set out for Edinburgh, where he was patronised
by, and mingled in, the best society of the time. ' He there formed the
acquaintance of Allan Masterton, one of his greatest cronies, who com-
posed the melody for the words in the Museum.
285. JOHN 0' BADENYOND.
The air, adapted to this song from the pen of the Eeverend John Skinner,
is a strathspey, first printed in Alexander M'Glashan's " Collection of Eeels,"
etc., 1786, and in Aird's Selection, vol. iii., 1788, under the same title.
In the Eev. Patrick M'Donald's " Collection of Highland Vocal Airs," etc.,
1784, there is a tune of one strain without name, No. 35, bearing a con-
siderable resemblance to it ; and a second, called " Latha sinbhail sleibh
dhomh," No. 128, has also a likeness.
286. PEENNETT HALL.
Stenhouse has covered four pages in his Illustrations with what are sup-
posed to be the incidents commemorated in this ballad, without noticing in
the least the tune to which it is adapted in the Museum. We would re-
mark that the melody appears to be of Irish origin, and that, after a
most diligent search, we have been unsuccessful in finding it in any
Scottish collection prior in date to the Museum.
287. YOUNG JOCKEY WAS THE BLYTHEST LAD.
The air to which this song is adapted is a slight alteration of the melody
published by Oswald in his " Caledonian Pocket Companion," book vii., page
8. It is one of the Anglo-Scottish productions that were so common in
last century for the Vauxhall entertainments. Oswald calls it "Jockie
was the Blythist Lad in all our Town." Johnson put the letter Z to the
song to indicate that it was an old one with additions or corrections, but Sten-
house avers that Burns wrote the whole of it, with the exception of three
or four lines. Cunningham says what is old of it may be found in Oswald's
THE SCOTS MUSICAL MUSEUM. 155
Collection, under the title of " Jockie was the blythest lad in a' our town,"
but this is nonsense. Oswald gives no words to any of the tunes in the
" Caledonian Pocket Companion."
288. A WAUKE1FE MINNIE.
We are told by Cromek in the " Beliques " that Bobert Burns says, " I
picked up this old song and tune from a country girl in Nithsdale." We
have no doubt of this statement, as it is not found in any collection
published prior to the Museum. The melody appears to be a modification or
variation, probably of " To the Weaver gin we go."
289. TULLOCHGOBUM.
To this old tune the Bev. John Skinner wrote his famous song
" Tullochgorum," which our national bard pronounced to be the author's
masterpiece. The tune is what in former times was called a " Strathspey
Beel." Whether Stenhouse is right in saying the composer of " Tulloch-
gorum " has evidently taken the subject of it from the old Scottish song-tune
called " Jockie's fou and Jenny fain," we cannot tell, but the tune is con-
siderably changed even from the version which he gives as a genuine copy
of that melody. Bobert Bremner is the first who has printed "Tulloch-
gorum " : it is in his " Collection of Scots Beds or Country Dances," 1757.
Dauney refers to a tune called " Corn Bunting " in a tablature MS. that be-
longed to David Laing, stating, " the tune is now better known as Tulloch-
gorum." We defy any one to discover a key to that tablature which will
produce any of the well known tunes which are named in it. As to the
derivation of " Stotis Quhip Megmorum," or Skinner's "Whigmigmorum,"
we leave etymologists to determine among themselves.
290. FOE A' THAT, AN' A' THAT.
The air to this song in its original form has proved a matter of no small
effort to obtain. Some years ago it was found in Bobert Bremner's " Scots
Beels or Country Dances," under the name of " Lady M'Intosh's Eeel," page
52, 1759. It must have been known, however, somewhat earlier, as we
have discovered it printed in David Eutherford's " 24 Country Dances,
for the year 1754," under two different titles; version first, "Lady M'Intosh's
Bant," and second, " The Prince's Eeel," — the latter being the better one.
It is nearly identical with Bremner's version, and quite as good. Euther-
ford seems to have been in business at least six years before 1754. He was
probably a Scotsman, as we may infer from his name, and that may account
in some measure for many Scots tunes being printed first in London,
156 EARLY SCOTTISH MELODIES.
291. WILLIE BEEWD A PECK 0' MAUT. ■
This song has the original air, which was a composition of Allan Master-
ton, — the Allan of the three worthies commemorated in the song. The
melody as it is now sung is very much changed, having received alterations
in the first strain, and the second being discarded, another taking its place.
As the tune was gradually improved it must have passed through several
hands.
292. KILLIECEANKIE.
This air was probably written to the song shortly after the battle. It is
contained in the Leyden Tablature MS., 1692, styled " Killie Crankie."
That portion of it which is sung to the chorus is still more ancient ; it
forms a part of the tune called " My Mistres blush is bonny," in the Skene
Manuscripts. With the exception of the chorus, the verses in the Museum
were written by Burns. The old song has apparently been lost.
293. THE EWIE WI' THE CEOOKED HOBN.
The tune to which the Eeverend John Skinner's song has been adapted
is not found in any of our collections before 1780. In that year it appears
in Angus Cumming's " Collection of Strathspeys, or Old Highland Eeels,"
called " Carron's Eeel," or " U Choira Chruim," and in Eobert Eoss's " Choice
Collection of Scots Eeels or Country Dances and Strathspeys," entitled " The
Ewie wi' the Crooked Horn." Skinner, in a letter he sent to Burns, of
date 14th Nov. 1787, alluding to his own poetic contributions, says, "While
I was young, I dabbled a good deal in these things, but on getting the black
gown I gave it pretty much over, till my daughters grew up, who, being
all tolerably good singers, plagued me for words to some of their favourite
tunes," etc. Whether the tune was one of their favourites, or the words
were one of their father's early efforts, and the air composed for the song,
we cannot now discover.
294, 295. THE BLUE-EYED LASSIE, and THE BANKS OF NITH.
Tune — "Eobie donna gobach."
These are two songs which Burns wrote for his friend Eobert Eiddel,
Esq., of Glenriddel, who composed both of the tunes, to very inferior words
written by himself, and published them in 1787 in his "Collection of New
Music for the Piano-Forte or Harpsichord," etc. The first tune is good,
but it possesses a compass too extensive for the voice. The second is a
weak composition, which has borrowed somewhat from " My Nanny ! "
THE SCOTS MUSICAL MUSEUM. 157
"The Banks of Nith" is Eiddel's tune wrongly named "Eobie donna Gorach"
in the Museum, and, strangely enough, Johnson has omitted that song in his
index.
296. TAM GLEN.
The tune given in the Museum to this excellent song from the pen of
Burns, is an English one, called " My name is old Hewson the Cobbler."
This air was introduced into the ballad opera of " The Jovial Crew," 1731,
and into later operas of the same class. The song, however, is never sung
to that melody now ; it has been entirely superseded by the Scottish tune
" The Mucking o' Geordie's Byre."
297. DBAP 0' CAPIE !
This song is adapted to an old reel tune called " The Eantan Boarin'
Highlandman," which Brenmer published in his " Scots Eeels or Country
Dances" in 1758. It was also included by John Walsh in the first
volume of his " Caledonian Country Dances," circa 1734, entitled " The
Banting Highlandman." The tune is a lively one, but the words are not
recommended to be sung in the drawing room. Herd printed the song
from a stall copy in his " Scottish Songs Ancient and Modern," 1776.
298. ON THE RESTORATION OF THE FORFEITED ESTATES,
1784.
TwihC — "AS I CAME IN BY AtTCHINDOWN."
This tune is widely known as "The Haughs of Cromdale," and is frequently
played as a strathspey. It is very old, though not found in any printed
collections before those of Alexander M'Glashan, and Angus Cumming, in
1780. In the former it is called " The Merry Maid's Wedding," and in the
latter, " Haughs of Cromdale." We have found it in Margaret Sinkler's
Manuscript-Music Book, 1710, entitled " New Killiecrankie." The song is
said to have been written by the Rev. William Cameron, Kirknewton, near
Edinburgh.
299. THE CAMPBELLS ABE COMIN'.
In the index to the third volume of Johnson's Museum, it is said that
"this song was composed on the imprisonment of the unfortunate Mary
Queen of Scots in the Castle of Lochleven, in 1567." Stenhouse, however,
adds, " Nevertheless, the words of the song contain intrinsic evidence that
it is not much above a century old. In all probability it was written about
158 EAELY SCOTTISH MELODIES.
the year 1715." "We might, judging from the first appearance of the tune
in print, say, that it was somewhat later. It is contained in Walsh's Cale-
donian Country Dances, circa 1745, under the name of " Hob or Nob " ;
which may be the title of the dance, instead of the proper name of the tune.
In 1750, Oswald printed it in the " Caledonian Pocket Companion," book iii.,
page 12, entitled " Campbells are coming, a Oha."
• 300. GET UP AND BAE THE DOOE.
This song was published by David Herd in the second volume of his
" Scottish Songs Ancient and Modern," 1776 ; and the air is found in James
Aird's " Selection of Scotch, English, Irish, and Foreign Airs," vol. ii., page
3, 1782, under the title of " The Barring of the Door."
VOLUME IV
301. CEAIGIE-BUEN WOOD.
The melody of this song is not contained in any collection previous
to the Museum, therefore we must accept the statement that it was
taken down from the singing of a country girl. It is really a beautiful
tune : the set now in use is slightly altered from that given by Johnson,
and is more vocal. The words were revised and curtailed by Burns (the
chorus, being part of an old song, was discarded), and sent to George
Thomson for his Scottish Songs, who published it in his second set of
twenty-five, July 1798.
302. FEAE THE FEIENDS AND LAND I LOVE.
Time — "Cakron Side."
This melody is included in Oswald's Caledonian Pocket Companion, book
viii., page 10, date about 1756, and in his Collection of Scots Tunes, with
variations, dedicated to the Earl of Bute. The air is a pleasant one ; but
to some extent the first strain is indebted to the tune of " Todlin hame."
It has some Celtic character in the second strain.
303. HUGHIE GEAHAM.
This air, as stated by Stenhouse, is contained in Oswald's Caledonian
Pocket Companion, book viii., page 12, under the title of " Drimen Duff."
In the work published by Burk Thumoth, viz., Twelve Scotch and Twelve
Irish Airs, the same name is given to a similar Irish tune, or at least one
included among the Irish airs. Our opinion is that of G. F. Graham,
endorsed by J. M. Wood, that the version printed in Oswald's work is
THE SCOTS MUSICAL MUSEUM. 159
really of Highland origin. It has many traits of Celtic music. We hold
the idea that Thumoth probably published his book before Oswald's viii.,
and that the latter adopted the name as more consona'nt to English ears
than " Drumion dubh," its Highland name. We have very great doubts
of Thumoth's accuracy, as he includes in his book of Twelve English and
Twelve Irish Airs "Bumpers Esquire Jones" among the English tunes,
though claimed as Irish, and he has the Scots tune of " My Nanny, "
among his Irish airs.
304. MY GODDESS WOMAN.
Tune — "The Butcher Boy."
This air, so far as we can discover, is not in any of our Scottish collec-
tions of an earlier date than the Museum. Our suspicion is that we
have no claim to the melody, and the resemblance it bears to the Irish style
is so marked that it may be considered a native of the sister isle.
305. JOHN, COME KISS ME NOW.
See English Claims, page 26.
306. I'VE BEEN COUETING AT A LASS.
Eef erring to this tune, Stenhouse says, " The verses are adapted to the
old air of ' Ah ha ! Johnie lad, ye're nae sae kind's you sud hae been.' "
This remark is misleading; the tune bears greater kindred to the
"Miller's Daughter," as given by M'Glashan and by Cumming in their
respective collections, 1780.
307. PEAS STKAE.
This is an old Strathspey tune, and is found in Walsh's Caledonian
Country Dances, vol. 4, page 61, 2nd edition, circa 1745. The version
given in that collection is, however, a very poor one. A much better set-
ting is contained in Bobert Bremner's " Scots Beels or Country Dances,"
1760, page 65, under the title of " Clean Peas Straw."
308. A SOUTHLAND JENNY.
Stenhouse, quoting Burns from Cromek's " Keliques," observes, " This is
a popular Ayrshire song, though the notes were never taken down before.
160 EAELY SCOTTISH MELODIES.
It, as well as many of the ballad tunes in this collection (the Museum),
was written down from Mrs Burns's voice." The song was given by
Eamsay in the second volume of the " Tea-Table Miscellany," and to the
words he annexed the letter Z, to denote that they were old even in his
own day ; but he gave no indication of the air. Whether this in the
Museum is the original tune which has descended to us traditionally, we
are unable to say; but at any rate it is a very insipid production, and pro-
bably first saw the light a long way south of the Scottish Border.
309. COCK UP YOUE BEAVEE.
It is said by Stenhouse that, " This lively old Scottish tune, under the
title of 'Johnny, cock up thy Beaver,' is to be found in the Dancing
Master, published by old John Playford of London in 1657." This state-
ment is simply one of his many errors. The tune, however, is not
contained in any of our Scottish collections before William M'Gibbon's
Third Book, 1755, and the Caledonian Pocket Companion, book vii.,
about the same date. An excellent version of it is included in
Margaret Sinkler's MS. Book, 1710. Chappell, in the appendix to his
'' Popular Music of the Olden Time," says, " The words of ' Johnny, cock
thy Beaver ' are so much in the style of ' Jockey is grown a gentleman,'
that E think them rather a good-humoured joke upon the Scotch than a
genuine Scotch song." This is a fair specimen of Cockney wit, and need
not be taken seriously. The tune appeared in the " Dancing Master," 1686,
and in "The Division Violin," entitled, "Johney Cock thy Beaver, A
Scotch Tune."
310. 0, LADDIE I MAUN LO'E THEE.
Stenhouse says, " This is another edition of the old Scottish song, ' Come
hap me with thy petticoat'; see the remarks on Song No. 139, beginning,
' O Bell, thy looks have kill'd my heart.' " On referring to this note we
find no more of "O, Laddie I maun lo'e thee" than a quotation from
Tytler's Dissertation on Scottish Music, in which that air is supposed to be
ancient, as judged by his artless standard. This would have been much
more convincing had Tytler given us information where the tune is to be
found prior to Napier. If the air existed in the time of James I. of Scot-
land, as he imagines, we scarcely think it would have remained unpublished
so long, or that the discovery would have been reserved for him. Perhaps
he communicated the song and tune, along with the Dissertation, to Wm.
Napier, as it appears in his Selection, published in 1790.
THE SCOTS MUSICAL MUSEUM. 161
311. LET ME IN THIS AE NIGHT.
This is, no doubt, a very old tune, seemingly of the Scots measure class,
but whether the vulgar words given in Herd's Collection can claim the
same age is very dubious. That the melody was well known under another
name the following will show. Stenhouse says, " There is a copy of it in
square-shaped notes in a manuscript book for the Virginals in the Editor's
possession, under the title of ' The newe Gowne made.' " Another copy
is found, as " The Goune made," in a Manuscript Music-Book for the Flute,
latterly in Chappell's possession, which belonged to a William Graham,
1694; and it is also contained in Margaret Sinkler's "Manuscript Music-
Book," 1710, as " I would have my gowne made." The verses printed
by Herd, as well as those in the Museum, though somewhat altered and
curtailed, are so objectionable that they would not be tolerated now.
Burns, however, wrote other words for the air, retaining only the first
four lines of the old song.
312. MY TOCHEE'S THE JEWEL.
This beautiful melody, so far as we can discover, made its first appear-
ance in Oswald's " Caledonian Pocket Companion." It is found on the last
page (28) of book iii. as a jig, under the tune called " The Highway to
Edinburgh." Stenhouse erroneously states that the jig was composed by
Oswald turning the tune into f measure. On examination it can be seen
that there is no foundation for such an assertion, and it was never claimed
by Oswald. The song is by Burns. When the "Beliques" were pub-
lished, more than ten years after the bard's death, the volume con-
tained a statement that the Gows claimed this melody under the name
of " Lord Elcho's Favourite." On the title-page of their Fifth Collection
Nathaniel Gow replied, declaring Burns to be in error, " as by looking into
Niel Gow & Son's Second Book, page 18, it will be seen that it is unclaimed
by Nathaniel Gow or any of his family." That the poet was correct, see
account in the Glen Collection of Scottish Dance Music, book ii., page 13.
313. THEN GUIDWIFE COUNT THE LAWIN'.
This melody is said to have been supplied by Burns along with the song
to Johnson, for the Museum. We see no reason to doubt this, as we
cannot find the air in any prior collection. Stenhouse's opinion is that
the tune was partly borrowed from "The Auld Man's Mare's dead,"
especially the chorus. We are unable to say which is the older of the
two tunes.
162 EAELY SCOTTISH MELODIES.
314. THE WHISTLE.
We would not be surprised to find that this tune was composed by
Eobert Eiddel, Esq., of Glenriddel, one of the competing bacchanalians for
the possession of the much coveted whistle. It is not, however, among the
tunes published in his two collections. The first one was issued before the
contest, and the second after his death. It reminds us somewhat of the
Irish air " One Bottle more."
315. THEEE'LL NEVEE BE PEACE TILL JAMIE COMES HAME.
The first publication of this melody is in " The Curious Collection of
Scots Tunes," dedicated to the Duke of Perth, by James Oswald, 1740, page
22. It next appears in William M'Gibbon's " Collection of Scots Tunes,"
1742, page 30, under the above title, whereas Oswald names it, " There are
few good Fellows when Jamie's awa." Mr Moffat, in his " Minstrelsy of
Scotland," says, he has adopted Johnson's version, but this is a mistake, for
he omits the second strain and the second verse. The second strain is
nearly the same as the first, only an octave higher.
316. WHAT CAN A YOUNG LASSIE DO WI' AN AULD MAN.
This old Scottish tune is contained in Oswald's Caledonian Pocket
Companion, book vi., page 5. It is there entitled, " What should a Lassie
do wi an auld man." That title is suggestive of an earlier song than the
one written by Burns.
317. THE BONIE LAD, &c.
This melody we have failed to discover in any collection of Scottish music
published prior to the Museum. It was probably an air that had some
popularity at the farmers' ingles, and it is said Burns picked it up from the
singing of his mother.
318. THE AULD GOODMAN.
This song, so far as we have been able to learn, was first printed in the
second volume of Allan Eamsay's " Tea-Table Miscellany," and the tune
with the words found a place in the " Orpheus Caledonius," second edition,
1733. Stenhouse tells us that both the words and music were copied into
the Museum from the Orpheus of 1725. This" is not the case ; the 1725
edition, which is the original, does not contain " The Auld Goodman." The
air occurs again in Oswald's "Caledonian Pocket Companion," book iii.,
page 15, and in many later publications.
THE SCOTS MUSICAL MUSEUM. 163
319. AS I WAS KIST YESTREEN.
The earliest copy of this lively tune is contained in Oswald's " Caledonian
Pocket Companion," book v., page 5, but the air is found in many later
Scottish collections. Stenhouse says, " The old title of the air was ' Lumps
of Pudding.' It appears in the 'Dancing Master,' printed in 1657."
Nothing could be more absurd than this statement. " Lumps of Pudding "
is a totally different tune, and it does not appear in any of Playford's
"Dancing Masters" prior to 1701. We doubt whether Stenhouse ever
saw the edition of 1657, which he so often refers to, as he seems to imagine
it contained all the tunes given in later editions. His assertion that Gay
introduced the melody into the " Beggars' Opera " is also wrong. " as
I was kissed yestreen " was probably, _f rom its construction, originally a
bagpipe tune.
320. FINE FLOWERS IN THE VALLEY.
This is a plaintive little tune. Stenhouse says of it, " This ancient and
beautiful air, with the fragment of the old ballad beginning, ' She sat down
below a thorn,' were both transmitted by Burns to Johnson for the
Museum." We have, after diligent search, been unable to find the tune
in any source previous to the Museum, therefore, in the absence of other
evidence, Stenhouse's assertion as to the antiquity must be taken for what
it is worth.
321. I DO CONFESS THOU AET SAE FAIR.
The melody given to this song is well known as " Jacky Tar." Stenhouse
says, "The fine old tune, to which the Scottish version of the song by
Burns is adapted, is called ' The Cuckoo.' There was a Jacobite song to
the same air, a fragment of which is inserted in Hogg's Jacobite Relics, vol.
i." Another version of the tune, in the major key, called " The Cuckoo's
Nest," is given in Rutherford's " Complete Collection of 200 of the most
Celebrated Country Dances," vol. hi., circa 1770. It is published also in
Straight & Skillern's " 204 Favourite Country Dances," 1774 In Aird's
Selection, vol. i., 1782, we have the tune as " Come ashore Jolly Tar and
your trowsers on." The two latter are in the minor key, the last probably
furnished the tune for the Museum. Bunting has claimed the tune for
Ireland, and has given a version in the major key in his collection of 1840,
called " The Cuckoo's Nest," very ancient, author and date unknown, from
an old music book of 1723. We ask for more explicit evidence. The Irish
have a different air, called " The Cuckoo and The Pretty Cuckoo."
164 EARLY SCOTTISH MELODIES.
322. IF E'EE I DO WELL 'TIS A WONDER
The air set to this strange song occurs in " The Curious Collection of
Scots Tunes," dedicated to the Duke of Perth, by James Oswald, page 5,
1740. It is under the title of "If e'er ye do well its a wonder," and
probably may refer to another song than the one in the Museum, which is
taken from the fourth volume of Ramsay's " Tea-Table Miscellany." The
tune also has Oswald's title in William M'Gibbon's second Collection, 1746.
323. THE SOGER LADDIE.
Regarding this tune Stenhouse says, " Both the words and music of this
song appear in Thomson's ' Orpheus Caledonius,' 1725, from whence they
were copied into the Museum. The tune must, therefore, have been known
long before that period by the name of ' My Soldier Laddie,' which is the
title prefixed to it in Thomson's work. This song was reprinted in the
sixth volume of ' Watts' Musical Miscellany ' in 1731." The above state-
ment is grossly misleading ; the words and music are not in the Orpheus
of 1725, but in the second .edition, 1733. Watts' accordingly preceded
Thomson's publication. That the tune was known earlier is certain, for it
is included in Margaret Sinkler's Music Book, 1710, under the title of
" Northland Laddie."
324. WHERE WAD BONIE ANNIE LY.
It is somewhat doubtful whether this is a Scottish or an English air. A
version of the tune is found in Playford's Dancing Master, 1695, under the
title of "Red House." Ramsay, in his Tea-Table Miscellany, 1724,
published a song, to which he gave the name of "The Cordial," and
directed it to be sung to the tune of "Where shall our Goodman ly."
About 1690 Scottish tunes and songs were fashionable in England, and
it must be borne in mind that a number of our tunes were first printed in
London, as there were no music publishers in Scotland at this date. In
1700, Henry Playford's "Original Scotch Tunes" appeared, a small collection
consisting of thirty-nine airs. Though the tune is not contained in that
work, it was probably well known at the time by its Scots title of " Where
shall our Goodman ly." It is a favourite bagpipe tune.
325. GALLOWAY TAM.
This air occurs in Oswald's " Caledonian Pocket Companion," book vi.,
page 25, entitled " Galloway Tarn." It is also contained in Walsh's " Cale-
donian Country Dances," the 3rd edition, circa 1736, under the name of
THE SCOTS MUSICAL MUSEUM. 165
" Gallay Tom." Though not agreeing with Stenhouse " that it is the old
air of ' O'er the Hills and far away,' changed from common into treble time,"
we admit it bears some resemblance to that melody. According to Dauney
" Galua Tom " is contained in the Straloch MS. Lute Book, but we have
seen a copy of the tune in the transcript, and find it to be a different air.
326. AS I CAM DOWN BY YON CASTLE WA.
This is a pretty little air, but whether ancient or modern it would A be
difficult to determine. The first source in which it is found is apparently
the Museum ; in the first two bars it reminds us of " The Ewe Bughts,"
and it is probable the composer availed himself of that tune.
327. LORD RONALD MY SON.
It has been stated that the air to this ballad is probably the original of
" Lochaber no more." Before we can accept this statement there must be
evidence (not an unsupported tradition merely) that the ballad of " Lord
Ronald " is an earlier production than Ramsay's " Lochaber." We consider
the air to be a different version of the same tune, the probable origin for
both being "King James March," and we refer to our remarks under
the note to " Lochaber " (see page 87), instead of repeating them here.
The following notice of the tune is given in the "Reliques of Robert
Burns," Cromek, 1808 : " Burns says, This air, a very favourite one in
Ayrshire, is evidently the original of ' Lochaber.' In this manner most of
our finest more modern airs have had their origin. Some early minstrel or
musical shepherd composed the complete original air, which being picked
up by the more learned musician, took the improved form it bears."
Though some accept this statement, we neither believe in the musical
shepherd theory, nor that " Lord Ronald " is the original of " Lochaber no
more." On the latter point we may remark there is nothing but conjecture
concerning the origin of the ballad, and to estimate the age of the melody
because it was known in Ayrshire with only one strain, on the supposition
that the second strain was later, is no evidence whatever. We see no
reason why the composer of the one strain did not or could not write the
other.
328. O'ER THE MOOR AMONG THE HEATHER.
The words of this song are attributed to a strolling singer named Jean
Glover, born in 1758. Stenhouse says there were much older verses, but
makes no reference whatever as to where they are to be found. If the song
166 EAELY SCOTTISH MELODIES.
in the Museum is Glover's, and there was no previous one, it is evident
that the tune was first a dance tune, as it is contained in Bremner's
" Collection of Scots Eeels or Country Dances," 1760, when Jean was only
two years old.
329. SENSIBILITY HOW CHAEMING.
This song is set to a melody called " Cornwallis's Lament for Colonel
Muirhead." It was composed by Malcolm Stewart, of the firm of Music-
sellers in Edinburgh, known as M. & N. Stewart, an establishment that
existed for nearly fifty years, and which published many Scottish Collections
in its day.
330. TO THE EOSE BUD.
This song is understood to have been written by a joiner in Belfast called
Johnston. Stenhouse says, " The tune is evidently the progenitor of the
air called 'Jocky's Gray Breeks.'" It is certainly found in Oswald's
Second Collection of Curious Scots Tunes, 1742, at page 6, entitled " Jocky's
Gray Breeches," but the nameless tune which follows it in common time is
far more akin to the present version of " Johnny's Gray Breeks " than the
melody of this song.
331. YON WILD MOSSY MOUNTAINS.
The tune for this song is one of James Oswald's compositions. It is
contained in his Caledonian Pocket Companion, book iv., page 19, and is
called " Phebe." Stenhouse dates book iv. 1742, but that is certainly ten
years too early. The tune has Oswald's name in " Universal Harmony," 1745.
332. BONNIE LADDIE HIGHLAND LADDIE.
We shall reserve our remarks on this melody for a special note, in which
we intend to review all the " Highland Laddies " in perfect brigade order,
including the various tunes according to their seniority.
333. IT IS NA, JEAN, THY BONIE FACE.
This beautiful melody is another of James Oswald's compositions. The
tune is called by him " The Maids Complaint," and appears in the " Curious
Collection of Scots Tunes" dedicated to the Duke of Perth, which he
published before leaving Edinburgh, 1740. Stenhouse says, '* It is certainly
one of the finest Scottish airs that Oswald ever composed."
THE SCOTS MUSICAL MUSEUM. 167
334. DONALD COUPEE.
Stenhouse makes more than one /mix pas in describing this tune. He
states, " This old tune is mentioned by Colonel Cleland in his mock poem
on the ' Highland Host,' written in 1697 :
1 Trumpets sounded, skenes were glancing,
Some were Donald Couper dancing.'
But it was current in England long before this period, as it appears in
Playford's Dancing Master in 1657, under the title of " Daniel Cooper."
Now the "Highland Host" in which it is mentioned was published in
1697. Colonel Cleland was killed at Dunkeld in 1689, so it must have
been loritten in that year or earlier. Again, Daniel Cooper is not in any
of Playford's Dancing Masters before 1695. Stenhouse's dates are really
very amusing ; he apparently took for granted that every edition of Play-
ford's work contained the same tunes. The second strain resembles
" Macpherson's Lament."
335. THE VAIN PURSUIT.
Both the song and tune are said by Stenhouse to be productions of Dr
Blacklock, and sent by his amanuensis to Johnson. The melody, however,
has considerable Highland character about it.
336. EPPIE M'NAB.
This tune was published by Oswald in his Second Collection of Curious
Scots Tunes, 1742, page 46. It also appears in his Caledonian Pocket
Companion, book vi., page 18, published twelve years later. In both works
it is called " Appie M'Nab."
337. WHA IS THAT AT MY BOWER DOOR.
The words of this song, written by Burns, are set to a tune called " Lass
if r come near you," contained in the first volume of Aird's " Selection of
Scotch, English, Irish, and Foreign Airs. Adapted to the Fife, Violin, or
German Flute, 1782." Stenhouse says," This tune in old times was known
by the name of Lass an I come near thee."
338 & 339. THOU ART GANE AW A.
The old tune of " Haud awa frae me Donald " has certainly contributed
much to both versions of the more modern air. Stenhouse blunders again,
especially in his dates. He states, " ' Haud awa frae me Donald ' appeared
168 EARLY SCOTTISH MELODIES.
with considerable embellishments in the Orpheus Caledonius, 1725," whereas
it does not appear till the second edition, 1733 ; and referring to Playford's
" Dancing Master " he asserts that it contained the tune, under the title of
" Welcome Home Old Rowley," in 1657. This is not the case ; it first
appeared in the seventh edition of the Dancing Master, 1690. The melody,
we think, is a Scottish one that had crossed the Border, it was evidently
well known in Scotland. In the Blaikie manuscript, 1692, the tune occurs
entitled, " Hold away from me Donald," though it was published by Henry
Playford two years earlier ; we consider his title, " Welcome Home Old
Rowley," to be a name adopted for the dance. Urbani is said to have in-
troduced the modern set of the melody, but Corri published it nine years
before TJrbani's work appeared.
340. THE TEARS I SHED, &c.
The beautiful melody to which the words of this song are wedded is not
a Scottish one. It is included in Oswald's Caledonian Pocket Companion,
book iv., page 8, and in other of his publications as " Anthy the lovely."
The composer is not acknowledged, but is now ascertained to have been a
London musician named John Barret.
341. THE BONNY WEE THING.
This charming tune is also contained in Oswald's Caledonian Pockeb
Companion, book ix., page 1, under the title of " The Bonny wi thing." We
are not aware of any earlier source. Stenhouse is inaccurate, he gives book
viii. instead of ix.
342. ROY'S WIFE OF ALDIVALLOCH.
The earliest collection in which this tune appears under the name of the
" Ruffian's Rant," is, so far as we have discovered, Bremner's Scots Reels or
Country Dances, 1759, but the air is considerably older. It is found in
Walsh's Twenty-four Country Dances for the year 1742, as "Lady
Frances Wemys's Reel," and is said to be in the Macfarlane Manuscript,
circa 1740. The date of this collection is doubtful. In Angus Cumming's
Collection of Strathspeys, 1780, it is entitled " Coig na Scalan." It has
originally been a dance tune.
343. LADY RANDOLPH'S COMPLAINT.
Tune — "Earl Douglas's Lament."
This melody is contained in the Caledonian Pocket Companion, book vii.,
page 30. Stenhouse says, "This beautiful tune, if it be not the pro-
genitor of the melodies of 'When I hae a sixpence under my thumb,'
THE SCOTS MUSICAL MUSEUM. 169
Robidh donna Gorrach, etc., etc., is evidently nearly connected with them.
The song seems to have been written subsequent to the appearance of
Home's celebrated tragedy of ' Douglas,' in which Lady Randolph is one of
the principal characters."
"We are inclined to agree with Stenhouse, because neither the tune in the
Museum, called "Todlen Hame," nor the other airs, excepting Robidh
donna Gorrach, mentioned by him, are found in any collection at an earlier
date. It is probable both the song and tune were written for Home's
tragedy, which was produced in December 1756. The song, " Todlen but
an' todlen ben," in the Orpheus Caledonius, has a totally different tune
from that in the Museum, and neither of them is found in the Music for
Ramsay's Tea-Table Miscellany.
344. COME, HERE'S TO THE NYMPH THAT I LOVE.
Tune — "Auld Sir Simon tiie King."
The tune of this song is without doubt very old; according to Chappell it
is printed in Playford's "Recreation on the Lyra Viol," 1652. Though
ancient, we think it of no importance to discuss its origin, as we consider
it devoid of merit. There are several versions of the melody.
345. THE TITHER MORN.
Stenhouse quoting from Cromek's " Reliques " has : " Burns says, this tune
is originally from the Highlands." He then remarks, "The musical
reader will easily observe that the second strain of this Highland tune is
almost note for note the same with the second part of the air, ' Saw ye
Johnie comin quo' she.' It is, however, a fine tune for all that, and was
sent by Burns to Mr Johnson, alongst with the pretty verses adapted to it ;
which, it is believed, are the composition of our bard." This is evidently
a mis-statement ; the song appears in the " Goldfinch," 2nd edition, 1782,
and may have been included in that of 1777. His praise we may admit,
but the musical reader will see he has not observed that the first strain is
a version of " The Minstrel Boy," and the final bar of the second a return
to that air, therefore the Highlands have been indebted both to Ireland
and the Lowlands for this extraordinary production.
346. A COUNTRY LASS.
Our purpose is to direct attention to the tune, not to contend for the
nationality of the song. Apparently there was more than one " Country
Lass." The song referred to by Stenhouse in Thomson's Orpheus Caledon-
ius (the Second Edition, not that of 1725), consists of the same words,
170 EAELY SCOTTISH MELODIES.
but the tune is entirely different from No. 346 in the Museum. The same
song is given in " Pills to purge Melancholy," but the tune is " Cold and
Eaw." Eamsay also has the song in the second volume of the Tea-Table
Miscellany, and directs it to be sung " to its ain tune." What that air was
we have no knowledge, as it is not contained in the Musick for the Scots
Songs in the Tea-Table Miscellany. Stenhouse alludes to this melody as
follows : " The fine original air, of one simple strain, was recovered by
Burns, and transmitted to Johnson ; and the verses were at last adapted
to their ain tune in the Museum." Whether this original air, said to have
been recovered by Burns, is the true melody, or simply a version of
" Oscar's Ghost," Corri, 1783, to which it has a strong resemblance, may
be doubtful. It has certainly nothing to do with " Sally in our Alley."
347. KOEY DALL'S POET.
Of this song, beginning, " Ae fond kiss, and then we sever," Stenhouse
says : " Burns, in his original MS. now before me, directs it to be set to
the tune of Eory Dall's Port in Oswald's Caledonian Pocket Companion,
book viii." This melody was also published by John Walsh in his "Country
Dances Selected," under the name of " Eosey Doll." We have been unable
to ascertain whether Walsh's work preceded that of Oswald, whose book
viii. was published not later than 1757. Walsh died in 1766. It is a
matter of indifference who Eory Dall was, or whether he composed the
tune. We have not found it earlier than the two sources named. The
Eory Dall Port in the Straloch Manuscript is wholly unlike it. Eory Dall,
in Gaelic, means simply Blind Eory or Eoderick.
348. AS I WAS A WAND'EING.
Time — " Einn mi cudial mo mhealladh."
A Gaelic air.
We are at a loss to understand where Stenhouse received his informa-
tion about this tune. He says, " This beautiful Gaelic melody was obtained
by Burns during his excursion in the North of Scotland, in the year 1787.
It is entitled Einn m'cudial mo mhealladh, i.e., My dear did deceive me."
What proof have we for that assertion? It is probable that Burns received
the tune from another source altogether. The Eev. Patrick M'Donald in-
cluded it in his Collection of Highland Vocal Airs, etc., 1784, under the
exact Gaelic title, with the English translation, " My love has deceived me."
The tune is No. 143 in the collection. Johnson engraved M'Donald's
work.
THE SCOTS MUSICAL MUSEUM. 171
349. LOVELY DAVIES.
Tune — "Miss Muir."
Stenhouse says no more about this air than that " Burns's verses, begin-
ning ' how shall I unskilful' try,' were adapted to the tune called ' Miss
Muir/ at his own request." The melody does not appear to have been pub-
lished prior to the Museum ; at any rate, we have failed to discover it in
any earlier collection.
350. THE WEAEY PUND 0' TOW.
We are indebted to Oswald's Caledonian Pocket Companion, book viii.,
for this melody. It bears the same title in that collection, but whether
there was any song to the tune before the one Burns supplied to Johnson
for the Museum, we have not been able to find. Perhaps there was none.
Sir Walter Scott recited a verse which seems to imply an older song :
" Gin my wife and thy wife were in a boat thegither,
Ont o' sicht o' ony land and nane to steer them thither,
And gin the boat was bottomless, and seven leagues to row,
We'd never wish them back again to spin the Tap o' Tow."
351. NOW WESTLIN' WINDS.
Tune — "Come kiss wi' me, come clap wi' me."
The title Johnson has given to the tune for this song is that of an en-
tirely different melody. The air is well known as "Boyne Water," or
" When the king comes o'er the water." It was discovered by the late
John M. Wood under the name of " Playing amang the Kashes," in a
manuscript Flute-book (1694), with the name William Graham inscribed
on it, and we infer, from the fact that Oswald included it in his Caledonian
Pocket Companion, book v., page 26, entitled "The Kashes," that there was
evidently an early Scottish song of that name. It received the name
" When the king comes o'er the water " in M'Gibbon's Third Collection,
1755. In the Leyden MS., 1692, is another tune called " The Watter of
Boyne," but it bears no resemblance to the one under our notice.
352. I HAE A WIFE 0' MY AIN.
This tune we find printed in John Walsh's Caledonian Country Dances,
book ii., under the name " I've got a wife of my ain," and somewhat later
in Oswald's Caledonian Pocket Companion, book x., entitled, I have a wife
of my ain. It is either not of early date, or being a dance tune to which
some silly words were added, has received no attention. The Scottish origin
of the air, however, is stamped on its title, as well as by being included in
these Collections.
172 EAELY SCOTTISH MELODIES.
353. WHEN SHE CAM' BEN, SHE BOBBED.
This tune is probably one of our oldest, though we have not seen it
either in manuscript or print earlier than the Leyden MS., 1692. It
appears also in Mrs Crockat's MS., 1709, and in Margaret Sinkler's MS.,
1710. After these dates the tune is printed in English collections under
the name of " Buckingham House." In the " Music for Kamsay's Scots
Songs in the Tea-Table Miscellany," and also in later collections, it appears
under its Scottish name. It is now better known as " The Laird o'
Cockpen."
354. FAKE YE WEEL, MY AULD WIFE.
We are informed by Stenhouse, " This fragment of a humorous old Scot-
tish ballad, with its original melody, was communicated by Herd." The
words are contained in the second volume of Herd's Ancient and Modern
Scottish Songs, without indication of any tune. Whether it be original
or not, it is none other than " Alister " from Walsh's Caledonian Country
Dances, book iii. ; or " Sir John Malcolm " in Bremner's Scots Beels or
Country Dances. Herd ends each verse with, — "sing bum, bum, bum,"
and " wi' some, some, some," — while " bum " and " some " are not repeated
in the Museum, and the tune ends more abruptly with the lengthened note
in the music.
355. FOE ANE AND TWENTY, TAM!
Tune — " The Moudiewokt."
The name given to the tune of this excellent song by Burns is " The
Moudiewort." We think this was certainly the original title of the
melody. Its first appearance, so far as we have been able to discover, is in
Walsh's Caledonian Country Dances, book iii., page 30, named " Mowde-
wort," and again at page 62 it occurs as " Porto-Bello " ; while in Oswald's
Caledonian Pocket Companion, book iv., page 8, it is simply entitled,
" Scotch Gig," probably because he was not aware of its real name. Burns
shewed great discrimination in his choice of the air for his song.
356. JOHNIE AEMSTEONG.
We think it certain that the air of this ballad, and perhaps the words
also, did not exist in the early part of last century, though commemorating
an event in 1529. Stenhouse says, " It would appear to be the progenitor
of that class of airs so frequently noticed under the name of 'Todlen
Hame,' ' Lament for the Chief,' ' Eobidh donna gorradh,' and several others."
He omits to mention " Earl Douglas's Lament," of which he declares, " if
THE SCOTS MUSICAL MUSEUM.
173
it be not the progenitor of the melodies ' When I hae a sixpence under
my thumb/ ' Eobidh donna Gorrach,' etc., it is evidently nearly connected
with them." See Notes 343 and 275. Both tunes, viz., " Earl Douglas's
Lament" and " Armstrong's Farewell," are in Oswald's Caledonian Pocket
Companion, the former in book vii., and the latter in book ix., page 13.
357. HEY, HOW, JOHNIE LAD.
Stenhouse tells us, " This humorous song was picked up by Herd, and
included in his Collection of 1776. He asserts that the tune is in Bremner's
Collection (which is erroneous), instead of in Stewart's Collection of the
Newest and Best Keels or Country Dances, 1762, under the name of " The
Lassies of the Ferry." It also appears in Walsh's Country Dances Selected,
part ii., entitled " Lads of Saltcots," a work published about the same dace,
or perhaps a year or two earlier.
358. LOGIE 0' BUCHAN
This song has been claimed for two different persons. Stenhouse says,
" the old verses are said to be the composition of Lady Ann Lindsay,
Tax tsni to ths Eippkixb Goddum
1694
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174 EAELY SCOTTISH MELODIES.
authoress of ' Auld Eobin Gray.' " Peter Buchan, in his " Gleanings of
scarce old Ballads," Peterhead, 1825, says, " Lady Anne Lindsay was
certainly not the authoress of this song or ballad, which is said to have
been composed by George Halket, Schoolmaster at Rathan, in the year
1736-7." So far as we have seen, there is no direct proof to substantiate
either assertion, but as this is not our province, we pass on to the air. The
late John Muir Wood, searching for ancient tunes or their origins,
fixed upon a tune called " Tak tent to the Bippells," in a manuscript of
1694 ; also on " Beware of the Ripples,'" in Oswald's Caledonian Pocket
Companion, book xi., but we consider this to be rather far fetched, and
offer our readers copies of both, along with the version of Johnson and
Napier for comparison. The Museum melody is in the minor key. In
1798 there appeared a song on the surrender of the French to Earl Corn-
wallis at Ballinamuk in Ireland, to the tune " Logie o' Buchan," which
shows that the air had become popular, but we have no knowledge of the
version used.
359. KENMURE'S ON" AND AWA, WILLIE.
It is not our intention to make any remarks on this song commemorat-
ing the part taken by Lord Kenmure in the Rebellion of 1715, further
than to state that, like " Scots wha hae," it was not written at the time.
We have not seen any copy of this tune in any publication prior to the
Museum, and we suspect that neither verses nor melody existed earlier.
At least we have no knowledge that either were printed before 1792.
360. BESS AND HER SPINNING WHEEL.
This song was written by Burns for the Museum. Stenhouse makes the
following reference to the tune: "The beautiful melody to which the verses
are adapted was composed by Oswald, and published in the fifth book of his
Caledonian Pocket Companion, page 10, under the title of ' Sweet's the
Lass that loves me.' " This is an error for which we cannot entirely blame
Stenhouse, as an asterisk is attached to the title in the index to Oswald's
publication denoting that it was his own composition. We think it pro-
bably a mistake of the engraver : the index has been carelessly got up, and
is defective. The tune is an old Scots measure, and was in print before
Oswald was born. It appeared in Henry Playford's Original Scots Tunes,
dated 1700, under the title of " Cosen Cole's Delight."
361. MY COLLIER LADDIE.
In this instance we cannot do better than quote a part of Stenhouse's
note ;— " The words of this song, beginning ' Where live ye, my bonny lass,'
THE SCOTS MUSICAL MUSEUM. 175
as well as the tune, were transmitted by Burns to Johnson in the poet's
own handwriting. It appears in no other collection." After a very dili-
gent search we have found no evidence that either words or music existed
before the Museum. At any rate, they do not appear in any printed collec-
tion which we have overhauled.
362. THE SHEPHEED'S WIFE.
We cannot fully accept what Stenhouse says regarding this song and the
air in his note. " This old comic song appears in Herd's Collection, vol. ii.
It contains two verses more than the copy inserted in the Museum, which
were chiefly omitted on the score of delicacy." Only one verse is left
out entirely, and a substitute is provided for the second. Stenhouse
adds, " The pretty tune to which the words are adapted in the Museum
was communicated by Burns; but a respectable old lady informed the
editor that in her early days the verses were usually sung to the well
known air of Bab at the Bowster, alias ' The Country Bumpkin.' " Bobert
Chambers, in " Songs Prior to Burns," says, — " In Herd's Collection is a long
rambling dialogue song of not much merit, but sustained by a melody of
uncommon beauty, and for a Scotch sentimental air, animation." We may
remind our readers that there is not a single tune printed in Herd's
Collection, and few are named, except those of which words and music
bear the same title. The tune in the Museum does not occur in any
earlier publication. Chambers gives a superior tune, which is the one
in use at this date. It first appeared in Wm. Napier's Collection,
vol. iii, 1794.
363. WILLIAM'S GHOST.
Stenhouse tells us, " ' There came a ghost to Margaret's door ' was re-
covered by Bamsay, and printed in his Tea-Table Miscellany, 1725." The
truth is, it occurs in the fourth volume, which was published in 1740, and
completed the work entitled " The Tea-Table Miscellany, or a Collection
of the most choice songs, Scots and English." As the second and third
verses of the song contain the words, " From Scotland new come home,"
we suspect it to be of English origin, and probably the melody is also
English. The tune first appears along with the words in Wm. Napier's
" Selection of the most favourite Scots Songs," 1790. The genuine tune
(according to Stenhouse) was therefore published two years before the
Museum, and four previous to Bitson. We have no evidence for the
song beyond Eamsay's Tea-Table Miscellany. Bitson says the last two
verses are spurious and were probably added by Bamsay, but he cites no
earlier source. The tune is not the "William's Ghost" attributed to
Bizzio by Oswald.
176 EARLY SCOTTISH MELODIES.
364. NLTHSDALL'S WELCOME HAME.
About this song, Stenhouse informs us, " The verses are adapted to an air
composed by the late Eobert Riddel, of Glenriddel, Esq." Though the tune
does not appear in the two collections composed and compiled by that
gentleman, we have no reason to doubt the statement. The melody was
probably first given to Johnson along with the song for the Museum, or it
may be a fugitive tune, as several of Riddel's compositions are found in
other collections.
365. JOHNIE BLUNT.
In Stenhouse's note, it is said that this song is the original of " Get up
and bar the door," inserted in the third volume of the Museum. This
assertion we are rather inclined to doubt, because it is unlikely that copies
would precede the publication of the original, and we have neither the song
nor tune till it appeared in the fourth volume of the Museum, while the
tune of " The Barring of the Door " was published ten years earlier by
Aird in his " Selection of Scotch, English, Irish, and Foreign Airs, adapted
to the Fife, Violin, or German Flute."
366. COUNTRY LASSIE.
A different song and tune under a similar title has been treated in note
346. This melody, entitled " The Country Lass," appears to words
beginning, " Although I be but a country lass," in the Orpheus Caledonius,
1733, but not in that of 1725, as stated by Stenhouse. He tells us,
" Henry Carey, in composing the melody to his song, ' Of all the girls that
are so smart/ or ' Sally in our Alley/ has evidently borrowed from this
tune." Whether Carey did or not, there exists no resemblance to his
composition, but we observe a similarity in the thirteenth and fourteenth
bars of the air now sung to his verses, which Chappell, in " The Popular
Music of the Olden Time," page 375, says is an older melody. With that
exception the tune in the Museum is quite Scottish in character, and does
not suggest having been cribbed. The song is said to be by Burns, but his
name was not put to it in 1792.
367 and 368. FAIR ELIZA.
A Gaelic Am.
These are two different Highland tunes to the same song, written by
Burns, who mentions them as alternative airs for the words. Johnson
gives both in the Museum. They are taken from the Rev. Patrick
THE SCOTS MUSICAL MUSEUM. 177
M'Donald's Collection of Highland Vocal Airs, 1784 ; being respectively
No. 112 and No. 133 of that work, the former a Perthshire and the latter
an Argyleshire melody. In our estimation the second is the prettier,
though both are fine tunes.
369. MUIKLAND WILLIE.
See English Claims, page 38.
370. THE WEE, WEE MAN.
This tune is better known at the present time under the name of
" Bundle and go." Stenhouse says, " Herd published it in his Collection,
first edition, 1769, and Eitson copied it with the melody from the Museum,
in which the words and music appeared together for the first time." That
statement we leave unquestioned, but the tune itself is found in Aird's
Selection of Scotch, English, Irish, and Foreign Airs, 1782, entitled, " I'd
rather have a piece than a kiss of my Jo."
371. YE JACOBITES BY NAME.
In his note Stenhouse says, " This song is another unclaimed production
of Burns. It is adapted to an air which has always been a favourite in the
low country, and to which several of their songs have been sung. The
ballad on the celebrated pirate Paul Jones, beginning, ' You've all heard of
Paul Jones, have you not ? have you not ? ' was sung to the same tune.
There is another ballad to the same air, beginning, ' My love's in Germany,
send him hame, send him hame,' published as a single-sheet song by N.
Stewart & Co., Edinburgh, said to have been written by a lady on the death
of an officer, 1794. The late Hector Macniell, Esq., told me, however, that
he was the author of this ballad himself." In a note to Macneill's song by
the late J. Muir Wood, in the " Popular Songs and Melodies of Scotland,"
1887, he mentions " an English sea-song written on ' Admiral Benbow,'
' Come all you sailors bold, lend an ear, lend an ear,' the air of which
bears sufficient resemblance to justify one in thinking that it gave rise
to the present tune, probably through the unintentional variation of an
untrained singer imperfectly catching up by ear what he supposed to
be the correct melody." This is mere conjecture ; the only resemblance
lies in the rhythm of the words, " lend an ear, lend an ear," and " send
him hame, send him hame," not in the airs. The tune in the Museum is
not found prior to 1792, and we doubt the existence of the song " You've
all heard of Paul Jones " to be earlier than that date.
M
178 EAELY SCOTTISH MELODIES.
372. THE POOE THEESHEE.
Whether this song is a Scottish, English, or Irish production we will not
presume to determine, but our opinion is that the air belongs to Ireland. It
is much more in the style of the Irish ballad tune than in that of the other
two countries.
373. THE POSIE.
This song was written by Burns. In Cromek's Beliques, Burns says,
" It appears evident to me that Oswald composed his Eoslin Castle on the
modulation of this air. In the second part of Oswald's, in the first three
bars, he has either hit on a wonderful similarity to, or else he has entirely
borrowed the three first bars of the old air ; and the close of both tunes is
almost exactly the same. The old verses, to which it was sung when I
took down, the notes from a country girl's voice, had no great merit." Again,
Burns in a letter to Mr Thomson, printed in Dr Currie's edition of Burns's
Works, dated 19th October 1794, says, " ' The Posie,' in the Museum, is my
composition; the air was taken down from, Mrs Burns' voice." Which state-
ment is the true one ? Burns was certainly in error about " Eoslin Castle."
Oswald never claimed the tune under any name, and it was published
by M'Gibbon in his Second Collection, 1746, entitled, "The House of
Glams," some years previous to the fourth book of Oswald's Caledonian
Pocket Companion. It may be necessary to add that we have not the
least evidence that the tune of "The Posie" is old, neither do we get
the song beginning, " There was a pretty May, and a milken she went "
(which Stenhouse gives as a specimen), in any old collection. The tune,
instead of being the source of Eoslin Castle, has probably borrowed the
three bars from it.
374. THE BANKS 0' DOON.
See English Claims, page 55.
375. DONOCHT HEAD.
This excellent song has received its melody from a fine old air contained
in William M'Gibbon's Second Collection of Scots Tunes, 1746, page 3,
entitled, "Gordon Castle." It occurs also at a later date under the
same name in Oswald's Caledonian Pocket Companion, book x.; not in
book ix., as stated by Stenhouse.
THE SCOTS MUSICAL MUSEUM.
179
376. SIC A WIFE AS WILLIE HAD.
Stenhouse says, " This very humorous song beginning, ' Willie Wastle
dwalt on Tweed,' was written by Burns purposely for the Museum." His
note concerning the melody, however, is entirely erroneous ; he states, —
" The words are adapted to a tune called ' The Eight Men of Moidart,'
which was formed into a Strathspey, and published by Bremner in his
' Collection of Eeels and Country Dances,' about the year 1764." There is
no Strathspey of that name in Bremner's work, but " The Eight Men
Elde Britches.
'it
13LUE SBITCHB3. ^^ 1760.
Sic a wife as Willie bap. 1792.
of Moidart " is contained in Neil Stewart's " Collection of the Newest
and Best Beels and Country Dances," and it bears not the slightest
resemblance to " Sic a wife as Willie had." It is evident that the
vocal melody has been adapted from a reel taken from Bremner's Collec-
tion, 1760, called " Blue Britches," and occurring, twenty-four years later,
in Gow's First Collection, page 13, first edition, as " Link him Dodie "
Strathspey. It is not the " Blew Breiks " of the Skene Manuscripts.
377. LADY MAEY ANN.
The tune in the Museum for this song by Burns is called by Stenhouse,
" the very beautiful old air," though it does not occur in any collection prior
to Johnson's publication. In the Works of Bobert Burns, edited by Allan
Cunningham, 1864, on page 73, volume ii., we are informed, "An old
ballad, called ' Craigton's growing,' was chanted to him (Burns) in one of
his Highland excursions ; he caused the tune to be noted down, and musing
over the old rhyme, produced ' Lady Mary Ann,' and sent both music and
words to the Museum." What may be the age of the melody is quite un-
certain. Our impression is that it is not a genuine old melody, but one
compounded, to some extent, from the tunes of " Pinkie House " and " The
Blathrie o't." In cases where songs and tunes are gathered promiscuously,
unfounded tradition is frequently added to give plausibility. We suspect
Stenhouse occasionally made assertion suffice for what could not be proved.
180 EAELY SCOTTISH MELODIES.
378. SUCH A PARCEL OF ROGUES IN A NATION.
Stenhouse says, "This song, beginning, 'Farewell to a' our Scottish
fame," is likewise an unclaimed production of Burns." We are not
surprised that the poet suppressed the authorship of the song, for at
the date he lived it might have caused him trouble. The melody is
an old one, which appeared in Oswald's Caledonian Pocket Companion,
book iv., and two or three years later in "William M'Gibbon's Third
Collection, 1755. In both these works its title is " A parcel of Rogues in
a nation," a very appropriate one at the present time. The tune is
really a charming one.
379. KELLYBURN BRAES.
That we are suspicious about the old song and its air need not excite
wonder. The original verses given by Stenhouse never appeared in
any form till Cromek gave them a place in his " Remains of Nithsdale and
Galloway Song." "We think the lines have been written by some wit,
who palmed them off as traditional. The melody, which cannot be found
in any collection issued before the Museum, has the ring of a good modern
tune.
380. EVANTHE.
This song is said to have been written by Dr Blacklock, and he is also
credited with the melody. The tune is a rambling sort of air, here and
there reminding us of others, especially the first strain of " O'er the hills
and far awa."
381. JOCKY FOU, AND JENNY FAIN.
The air of this song under the above title is contained in Adam Craig's
"Collection of the Choicest of the Scots Tunes." Stenhouse says it has
been greatly embellished by Craig, and gives another version in his note,
No. 289, which he calls the original, but he neglects to mention the source
whence he obtained it. He says also, " The composer of ' Tullochgorum '
has evidently taken the subject of it from this old tune." Absurd !
382. AY WAKIN' OH !
This is another version of the tune No. 213 of the Museum. It was
received by Mr Stephen Clarke from Captain R. Riddell of Glenriddell.
Though Stenhouse prints in his " Illustrations," page 206, what he calls
THE SCOTS MUSICAL MUSEUM. 181
the original, this air, differing little from it, was published by Napier in
his Selection, 1790, and Eitson adopted his version. We think it the
better one.
383. PATIE'S WEDDING.
Though the verses are to be found in Herd's "Ancient and Modern
Scottish Songs," etc., the song may be relatively modern. So far as we have
been able to ascertain, it is not included in any earlier Scottish collection,
nor is the foolish old ballad, " We'll put the Sheep-head in the pat," the
tune of which Stenhouse says this air is a modernized version.
384. THE SLAVE'S LAMENT.
This song is not furnished with a Scottish tune. It is said both words
and music were communicated by Burns. The air is understood to be an
African melody.
385. OEANANAOIG : OR, THE SONG OF DEATH.
A Gaelic Air.
This is a beautiful song written by Burns to a Highland melody
contained in the Eev. Patrick M'Donald's " Collection of Highland Vocal
Airs," etc., 1784. The tune is an excellent one. In Wood's " Songs of
Scotland," edited by G. F. Graham, an incident is mentioned in connection
with the death of Cameron of Fassifern, taken from James Grant's work
entitled " The Bomance of War." The piper, at the request of Cameron,
is said to have played " The ancient Death-Song of the Skye-men — ' Oran
an Aoig.'" This is indeed a romance. The tune cannot be played on
the bagpipe in any form ; the compass being too great. That instrument
has only nine notes, whereas the melody contains thirteen. Even by
raising the two lowest notes of it an octave, eleven remain.
386. AFTON WATER.
The melody to which this song is sung is not contained in any earlier
collection. It seems to be contemporary with the words, and is probably
a composition of Major Logan, or some Ayrshire worthy. The popular air
for the song is a composition about half a century old, by Alexander
Hume, who has written a number of Scottish melodies. The original
tune, however, is not altogether discarded ; by some it is even preferred.
182 EARLY SCOTTISH MELODIES.
387. BONIE BELL.
Burns is said to have communicated the air for this song along with the
words. The song is his own, but how he acquired the tune we are unable
to say. Our suspicion is that it is not Scottish. We are told that the poet
never wrote any verses until he had thoroughly mastered the tune. We
cannot find it in any old collection. It may be modern, or more likely,
Irish, as it has several traits of their style. After adopting the title of
" The Scots Musical Museum," and avowing the intention to confine the
work to really Scottish songs and tunes, those frequent excursions are to
be deplored, especially when no explanation is given.
388. GKEEN SLEEVES.
Though this song is the production of Allan Bamsay, and published in
the first volume of the " Tea-Table Miscellany," 1724, we have no hesita-
tion in pronouncing the melody to be English. The tune was long and
greatly in favour in Scotland, but that does not alter its character, although
it is sung to many English songs. It has original words of its own, from
which the name is derived. Eamsay's adaptation does not affect either its
character or nationality.
389. THE GALLANT WEAVER
The melody united to the words of Burns's song, " Where Cart rins
rowin' to the sea," is called " The Weaver's March : or, the 21st August."
The air is contained in James Aird's First " Selection of Scotch, English,
Irish, and Foreign Airs, adapted for the Fife, Violin, or German Flute,"
1782, a work apparently well known to the poet. The tune, however, is
much earlier, as it is included in the second volume of Playf ord's Dancing
Master, 4th edition, 1728, entitled, "Frisky Jenny ; or, The Tenth of June."
390. SLEEPY BODY.
The melody united to this song is found in the Orpheus Caledonius of
1733, and is the last tune given in that work. The version contained in
the Museum is not identical with that of William Thomson. Stenhouse
mentions as a curious circumstance, that Oswald has a jig to the air of The
Plowman, nearly in the notes which constitute the melody of "Sleepy
Body." We scarcely think the circumstance is curious, as apparently both
the tunes have the same parentage.
THE SCOTS MUSICAL MUSEUM. 183
391. I LOVE MY JOVIAL SAILOR.
The pretty tune that is wedded to this song has much in common with
the air of " The Auld Man's Mare's Dead." The closing bars of the first
strain and the whole of the second of this melody have strong Irish
features, from which we are inclined to consider it a production of the
Sister Isle entirely. Stenhouse states that, both the song and tune were
received by Johnson anonymously, and " they are to be found in no other
work yet extant."
392. HEY CA' THRO'.
The origin of this air is quite a mystery. We do not know anything
about it prior to its insertion in the Museum. The words of the song
refer to Fifeshire, and Stenhouse might have acquired some information
about the composition which cannot now be obtained. The song begins,
" Up wi' the Carles of Dysart." An old musician of that town, named
James "Walker, who published two Collections of Tunes about the end of
last century, and lived till the year 1840, could probably have told some-
thing about it.
393. WHILE HOPELESS, &c.
The author of this song was Dr Robert Mundell, the Rector of an
Academy in Dumfriesshire. He is said also to have composed the air, and
transmitted both words and music to Johnson for the Museum.
394. CAN YOU LABOR LEA, YOUNG MAN.
Whether as an old song this was well known to the inhabitants of
Nithsdale and Galloway in Burns's day, we shall not dispute. We have
never discovered the tune with the above title in any work antecedent to
the Museum. The melody of Burns's " Auld Lang Syne " is said to be
derived from it, but this tune in its turn is only a variation of a still older
one. We discuss the subject under " Auld Lang Syne," No. 413.
395. ON THE DEATH OF DELIA'S LINNET.
The air is a modern one, but, nevertheless, an excellent melody. The
author of the song probably composed the tune. The words and music
were first inserted in the Museum. Johnson received both anonymously,
and their author is still unknown.
184 EAELY SCOTTISH MELODIES.
396. THE DEUK'S DANG O'EE MY DADDIE.
We have no hesitation in pronouncing this tune to be of English origin.
We certainly agree, however, with G. F. Graham, that our Scottish
version is much the better in melodic form and animation. It has been
long known in Scotland by the above title. In England it was entitled
"The Buff Coat."
397. AS I WENT OUT AE MAY MOENING.
This tune is not found in any Scottish collection prior to the Museum.
It appears to be a mongrel. The latter half of it is a palpable plagiarism of
"When the King cam' o'er the Water." Stenhouse begins his note by
saying, " The words and music of this old ballad," but he does not prove the
age of either the one or the other. He says Burns altered the words of it,
but it would have been better had he done it somewhat more. We are
doubtful if the song was ever printed before the Museum.
398. SHE'S PAIE AND FAUSE, &c.
Stenhouse tells us, " Burns picked up this charming old melody in the
country, and wrote the verses to which it is so happily adapted in the
Museum." We are afraid- this statement about the melody is not a correct
one. The tune was well known by its old name, " The Lads of Leith," under
which title it appears in the fourth book of Oswald's Caledonian Pocket
Companion. It occurs also in Walsh's Caledonian Country Dances, book i.,
3rd edition, which was published, we believe, not later than 1736, or fully
sixteen years before Oswald. The latter has been credited for preserving
the tune in his publication, and we are not aware that Walsh changed the
tunes in his various editions, after the manner of John Playford.
399. THE DEIL'S AWA WI' TH' EXCISEMAN.
This old tune is not Scottish. Its original name is " The Hempdresser,"
an English country dance tune, which appears in John Playford's English
Dancing Master, 1651, and in later editions of that work, as the English
Gentlewoman, or " The Hempdresser." But for Burns's words, the tune
would not have been heard of now.
400. MISS WEIE.
We cannot find this melody in any earlier collection, therefore think it
is the composition of the writer of the song, who Stenhouse says was a
dissenting clergyman at Biggar. It is a fine melody, and being within the
compass of nine notes, is well suited for the voice.
THE SCOTS MUSICAL MUSEUM. 185
VOLUME V.
401. THE LOVELY LASS OF INVERNESS.
This song, Stenhouse tells us, was written by Burns with the exception
of the first half stanza, which is old ; and Cromek says, " Burns took up
the idea from the first half verse, which is all that remains of the old words,
and this prompted the feelings and tone of the time he wished to commem-
orate." Nowhere can we find any earlier trace of this ancient half-stanza.
Where does it occur ? In our opinion Burns was not indebted to any such
fragment. The song evidently received its title from Oswald's melody,
which was published about six years before the Battle of Culloden in his
furious Collection of Scots Tunes, dedicated to James Duke of Perth,
1740. The tune is a good one, but its compass is too extensive for the
voice.
402. A BED BED EOSE.
Stenhouse says, " This song, beginning 0, my luves like a red red rose,
was written by Burns, and sent to Johnson for the Museum. The original
manuscript is now before me. Burns, in a note annexed to the verses, says,
' The tune of this song is in Neil Gow's first collection, and is there called
Major Graham.' It is to be found on page 6 of that collection." In
the advertisement prefixed to the second volume of P. Urbani's Selection
of Scots Songs the following occurs : " The words of the ' Bed Bed Bose '
were obligingly given to him by a celebrated Scots Poet, who was so struck
with them when sung by a country girl, that he wrote them down, and, not
being pleased with the air, begged the author to set them to music in the
stile of a Scots Tune, which he has done accordingly." George Thomson,
in the index to the poetry of his second volume, second edition, states,
" my love's like, &c, Author unknown," and on page 89 gives the song
under the title of " 0, my Love's like the Bed Bed Bose." From an old
MS. in the Editor's possession, " Air — Wishaw's Favourite — composed by
Mr Marshall." Johnson gives another air to the same song, No. 403,
entitled " Old set — Bed, Bed Bose," which we refer to in our note to the
following song, No. 404. The tune "Major Graham" is a palpable plagiarism
of Marshall's " Miss Admiral Gordon's Strathspey." Stenhouse, in his note,
blames Mr Clarke, who, he says, has made the second strain twice the length
of the first, and he states what was evidently the poet's intention. It is
not Clarke that is wrong, for he added nothing to Gow's second strain, and
we have no evidence whatever of the poet's intention, only Stenhouse's
assertion. The song first apppeared with Urbani's air, April 1794; next,
in the Museum with "Major Graham" and the "old set," May 1797;
afterwards with " Wishaw's Favourite " in Thomson's Selection, July 1799.
W. Scott Douglas has in his index, "A Bed Bed Bose," 1794, and " Johnson's
Museum, 1796." He adds, " Burns did not live to see the song attached to
186 EAELY SCOTTISH MELODIES.
its melody. He appears to have intended it to be sung to the simple and
pretty air, which we subjoin, 'Lament for Mary Queen of Scots.'" Is
there any warrant for such an assertion ? We shall not pronounce any
opinion on the merits of the various tunes, but simply mention that the
words are now usually sung to an altered version of " Low down in the
Broom."
404. MAEY QUEEN OF SCOTS LAMENT.
This song was written by Eobert Burns. It is united to the same
melody as the second setting of the '' Eed Eed Eose." Stenhouse states,
" The verses are adapted to the ancient air, entitled ' Mary Queen of Scots
Lament,' which Burns communicated to the Editor of the Museum alongst
with the Ballad. It consists of one simple plaintive strain, ending on the
fifth of the key, and has every appearance of being one of our earliest tunes."
Stenhouse fails to notice that Johnson, with the "Eed Eed Eose," has
printed the melody in two strains, both having repetition marks, which
render the words absurd if repeated. "We doubt the story connected with
the tune. Did Burns call the air ancient ? Does the circumstance of the
tune ending on the fifth of the key, or Stenhouse's mere assertion, afford
any proof of its age ? The melody is not contained in any collection prior
to the Museum, nor is it the one called by Corri and others, "Queen
Mary's Lamentation."
405. A LASSIE ALL ALONE.
Tune — "Cumnock Psalms."
The verses of this song by Burns are exceedingly fine, but the melody to
which they are adapted is a silly chant. Burns is said to have communi-
cated the tune, which we are unable to find in any collection prior to
the Museum.
406. THE WEEN'S NEST.
Stenhouse says, Mr Clarke has the following note on his manuscript
of the words and music: "The tune is only a bad set of Johnny's Gray
Breeks ; I took it down from Mrs Burns' singing." Is Clarke accountable
for the note? The tune appears to be constructed from three airs,
"Johnny's Gray Breeks," "Where Gaudie rins," and "The Highland
laddie.' 1
407. PEGGY IN DEVOTION.
This tune is not Scottish ; it is simply an imitation of the Grub Street
order. It was originally sung to some very vile words entitled " The Scotch
Parson's Daughter," contained in Tom D'Urfey's Pills to Purge Melancholy.
THE SOOTS MUSICAL MUSEUM. 187
408. JAMIE 0' THE GLEN.
This tune is of a trifling and mongrel description. So far as we can dis-
cover, it appears for the first time under the name of " Auld Rab the Laird "
in James Aird's Selection of Scotch, English, Irish, and Foreign Airs,
vol. iv., 1794. The air in its second strain bears much resemblance to the
old tune, " O'er the muir amang the heather."
409. GIN YE WERE DEAD, GUDEMAN.
Stenhouse, in his note, says, " This ancient tune originally consisted of one
strain. The second part was taken from one of Oswald's variations of the
original melody, printed in the fourth volume of his Pocket Companion."
He follows with what he calls " a correct set of the original melody, from a
very old manuscript." It is only the first strain slightly different in the
fifth bar. To show the absurdity of his statement, the tune with both
strains is contained in the Dancing Master of 1709, entitled " The Fidler's
Morris," more than forty years before Oswald published it. The melody is
understood to be one of those the Reformers sang to their spiritual songs
about 1549. Oswald entitled it in the Caledonian Pocket Companion, " I
wish that you were dead, goodman," and a few years later it bears the name
of " Watson's Scots Measure," in M'Gibbon's Third Collection.
410. MY WIFE HAS TAEN THE GEE.
This song does not appear in any collection we are aware of antecedent
to Herd's Ancient and Modern Scottish Songs, 1769. The tune united to
the words in the Museum, so far as we can discover, is not contained in any
earlier publication, and though Stenhouse says it " was communicated by
Burns," we mistrust his assertion. It is said to have been constructed
from an older air, " The Miller," or " Merry may the maid be that marries
the Miller." There is a great similarity between the two tunes, but we
possess no evidence as to which is the older melody. Other two tunes
have been used for the song : one, printed by Ritson; another, said to be old,
is in Gow's Fifth Collection as " My- Wife she's taen the Gee," communicated
by Mr Gibson Hunter of Blackness. Neither of these two tunes suits the
words so well as the present melody, though Stenhouse says the latter may
be the original. Hunter's air reminds us much of " John of Badenyon."
411. TAM LIN
This ballad is, as Stenhouse says, " of unquestionable antiquity," which,
however, is no proof that the tune is as old. In the additional illustrations to
the Museum we are informed that the music, instead of being written in
188 EARLY SCOTTISH MELODIES.
1566, could not have been written before 1600 or 1620. It had been
inserted, along with various miscellaneous airs, by a different hand, pro-
bably between the two latter dates. Though Stenhouse says that he had
the manuscripts written by Thomas Woode before him, he omits to show
what the soprano and bass parts were like, or if any melody is contained
in them. Our endeavour is always to find proof of the age of the airs,
instead of inventing traditional antiquity, and assuming it to be true. "We
have no desire to throw away tradition when there is any support for it, but
we cannot accept mere assertion. We have not discovered the tune of
" Tarn Lin " before its appearance in the Museum.
412. HERE'S A HEALTH TO THEM THAT'S AWA.
Stenhouse says : " The words and air of this song were communicated
by Burns, but neither of them are genuine. The words consist of a verse
of a Jacobite song, with verbal alterations by Burns himself. The tune
has half a bar in the first strain more than it should have ; and Johnson,
to mend the matter, has marked the tune f in place of f ." These remarks
he follows with what he calls "a correct copy of the words and music," but
neglects to state where he obtained them. Though Johnson erred in pre-
fixing f to the tune, Stenhouse apparently did not observe that it was
printed in f measure, and in calling attention to the redundancy of half a
bar, he fails to note that nothing was needed to correct it but to turn the
first two notes into semi-quavers, and the final dotted minims in both strains
into dotted crotchets, and crotchets tied. Johnson's version is the better
of the two. Some compilers have substituted for the final crotchet the
third and fifth of the key, and added the word " Hinny." The tune, which
bears a strong resemblance to "Kenmure's on and awa," is first found
printed in the Museum. We believe that the song was written entirely by
Burns, notwithstanding Hogg's assertion in his Jacobite Relics. Stenhouse
offers no proof to the contrary.
413. AULD LANG SYNE.
The words of this song were written by Robert Burns. This tune was
the one first applied to them. See our note, No. 25, page 66.
There has been a good deal of controversy about the melody now known
as " Auld Lang Syne." Certain writers have assigned its composition to
"William Shield, and therefore claim it for England, while others contend
that it is of Scottish origin. Now and again the discussion is renewed by
a class of superficial explorers, who are content to quote oft-repeated asser-
tions, as if such assertions constituted evidence of fact. That the claim in
favour of Shield cannot be upheld, however, we hope to be able to convince
our readers. The dispute in question seems to have had its origin in a
THE SCOTS MUSICAL MUSEUM.
189
note by the erratic William Stenhouse (" Illustrations to the Scots Musical
Museum ; " "0 can you labour lee young man," No. 394, page 358), in
which he says, " The old tune was modelled into a Strathspey called ' The
Miller's Daughter,' which Shield selected for one of his airs in the Overture
to Eosina, and Gow afterwards printed the air from that Overture under
the name of ' Sir Alexander Don's Strathspey.' It is now called Auld
Lang Syne." In his note to Auld Lang Syne (pp. 373-376), Stenhouse
further states — "As Burns had mentioned that the old tune was but
inediocre, Mr Thomson got the words arranged to an air introduced by
Shield in his Overture to the Opera of Eosina, written by Mr Brooks, and
TBI Milleii's Dauohtbb. M'GlasKcm & Camminij. 1780
k
fjimi Jjn i .ro j. { i;:cq inH/m ■»■ P
w
OVBBTUBE.
Ie
nP\STTl\)J71
*r-
■^m
*. * •*
SUM (1783)
m
4-4-*
4-r-
4r4r*
Gow
Sib Alexander Don.
... ™™. -— ~»- Qm> 1784
Aou> laho Syne.
Thtmmn. 1799
^fjiJ.iP | J3] 1{ iJi [ jir HEffJi^ iJjflU. I
ts
m
u^f^""ngr
4 . *"• 4
s^
Jj I f* t H'r^^V 1
W
o^'^r " ' u
4— —
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(Inverted notes for repeat.)
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Johnson & Thomson. 1792-1799.
acted at Covent Garden in 1783. It is the last movement of that over-
ture, and in imitation of a Scottish bagpipe tune, in which the oboe is
substituted for the chanter, and the bassoon for the drone. Mr Shield,
however, harrowed the air, almost note for note, from the third and fourth
strains of the Scottish Strathspey in Cumming's Collection under the title
of ' The Miller's Daughter,' but the strathspey itself is modelled from the
Lowland melody of ' I fee'd a lad at Michaelmas.' See Note on Song No.
394. Gow also introduced the air, as slightly altered by Shield, in his
Collection of Eeels, &c, Book I., and gave it the name of ' Sir Alexander
190 EARLY SCOTTISH MELODIES.
Don's Strathspey,' in compliment to his friend the late Baronet of Newton-
Don, in the county of Eoxburgh, who was a good violin player, and a
steady patron of the musical art."
On the previous page we present our readers with the tunes from the collec-
tions of Alexander M'Glashan and Angus Cumming, 1780, from Shield's
Overture of 1783 or 1784, from Niel Gow's Eirst Collection, 1784, and also
the tunes " can ye labour lee young man " (1792), and " Auld Lang Syne "
(George Thomson, 1799), showing the variations on the melody from 1780 to
1799. Allowing that Shield improved on M'Glashan's version, no great merit
isdue to him. The melody is introduced at the end of the overture, and we
have no proof that the overture included the air at the time the opera was
first produced. Our opinion is that Shield probably added the Scots
melody at a later date. Eosina was performed in Edinburgh in January
1784, and in order to tickle the ears of the audience Shield inserted the
tune, obtained from some local musician, or from William Napier, who first
published the opera (afterwards sold to Joseph Dale). The opera of
" Eosina," like others by Shield, was not entirely his own composition.
The title is " Eosina, A Comic Opera as performed at the Theatre Eoyal,
Covent Garden, composed and selected by William Shield." Beside the
airs claimed by him there is one by Paxton, another by Sacehini, also two
French tunes, and two Scots tunes. We have never seen nor heard of any
claim made by Shield to the tune of Auld Lang Syne.
In a recent publication, "Stories of Famous Songs," 1897, the author says
of " Auld Lang Syne " : "To come to the point at once, the melody to which
the lyric is now sung was, beyond dispute, composed by William Shield,
who was born at Durham, 1748." He also asserts that the overture in
which the melody occurs was published separately in 1783, but we have no
evidence whatever of such a fact, and without telling us where Shield says
so, he adds, " The air known as ' Auld Lang Syne ' he distinctly claimed as
his own composition." We shall give one other quotation from this able
author's famous stories. He says, at page 309 of his work, " Allan Eamsay,
when he came across ' Blue Bonnets over the Border,' inserted it in his
' Tea-Table Miscellany,' and labelled it ' ancient,' little knowing that it was
written by Sir Walter Scott, who founded it on ' General Leslie's march to
Longmarston Moor.' But most collectors of old songs are bound to be
deceived occasionally by falling victims to their own enthusiasm." Further
comment on " Famous Songs " is needless. Eamsay died in 1758, Scott
born 1771.
It remains for us to show that Gow did not copy the air from Shield.
Niel Gow has one note nearer to the present version of the air in the first
strain ; he also ascends in his repeat of the second strain to E-G, instead
of remaining at B-E like Shield, and Gow has anticipated Johnson's version
of the air of " 0' can you labour lee, young man," and Thomson's air of
" Auld Lang Syne," with these two notes. No reference to " Eosina "
appeared in Gow's Collection before the second edition in 1801 — fully
THE SCOTS MUSICAL MUSEUM. 191
seventeen years after the first edition — and there is no doubt it was made
then because he could not appropriate Thomson's popular version of the
melody. The tune is simply a development of the old Scottish strathspey
called " The Miller's Daughter."
From the Eeport of the Northumbrian Small Pipes Society, Annual
Meeting, 1897, pp 21-2 : " Here (Newcastle-on-Tyne), and probably pre-
viously, Shield must have become familiar with the Northumbrian pipes,
and it is interesting to find that, in composing the overture to ' Kosina,' a
ballad opera, in the year 1782, he wrote a coda or finale as an air for the
oboe, accompanied by bassoons, expressly ' to imitate the bagpipe.' Here
is a copy of the music as published by him, and here we find the words I
have quoted. The music is in C major, and there cannot be a doubt that
Shield had the Northumbrian pipes in his mind. The overture speedily
became popular, and was greatly in vogue with lady performers on the
harpsichord and pianoforte. Twelve years after the production and per-
formance of Shield's opera, the song ' Auld Lang Syne ' was published with
a new tune, which, I think, cannot be doubted was taken or adapted from
Shield's music. That new tune is the one we all know so well, and which
appeals to the hearts of Britons at home and abroad, with an effect which
passes description.
" I must tell you that ' Auld Langsyne ' was published in 1793 with a
tune which is now quite forgotten, and it was not till twelve years after
Shield published his music that the song appeared (published by Thomson)
with the tune as we now hear it. I believe the late William Chappell, and
your own learned Dr Bruce, were both of opinion that the music must have
been adapted from Shield, but I do not think either of them remarked on
the interesting fact that Shield specially describes the air as an imitation
of bagpipes, and that he, as a Northern man, must naturally have thought
of the pipes with which he had been so familiar when a- boy." — Address by
the President, W. H. Cwmmings, F.S.A., on National Music.
Mr Cummings, in his Address, ignores " The Miller's Daughter," which
tune, in its turn, is taken from " The Miller's Wedding," Bremner's
Eeels, 1759.
414. LOUIS, WHAT EECK I BY THEE?
This tune we have failed to discover in any collection published prior to
the Museum. Although the melody is good, it cannot be said that it is
original. The first four bars of the tune appear to have been derived
from " The British Grenadiers," written in the minor key. Stenhouse calls
it " the fine old air." It seems to be so only in his imagination.
415. HAD I THE WYTE SHE BAD ME.
This tune was formerly known by the name of " Come Kiss wi' me, come
clap wi' me." It is contained in the Musick for the Scots Songs in the
192 EAELY SCOTTISH MELODIES.
Tea-Table Miscellany, circa 1725. The air also occurs in the Orpheus
Caledonius, 1733, and in many later collections. Oswald published it in
the Caledonian Pocket Companion, Book VII., entitled, " Had I the wate
she bade me." In Eamsay's music the melody has but one strain. Being
a dance tune, however, it probably had the second strain long before
Oswald printed it.
416. THE AULD MAN", Etc.
In his" note Stenhouse says, " The tune is said to be very old." Our
opinion is, that it has been constructed from " The Queen o' the Lothians,"
with a slight touch of " The Carle he cam o'er the craft," and its age is
another of his pious imaginations.
417. COMIN' THEO THE EYE, 1st Sett.
This air is closely allied to the tune now known as " Auld Lang Syne."
No. 418 is another version, which was issued by John Watlen in 1794.
See English Claims, page 57.
419. THE DUKE OF GOEDON HAS THEEE DAUGHTEES.
Stenhouse states that, owing to ignorance of the original air, this ballad was
sometimes sung to that of the " Ewe-bughts " in the South of Scotland. Mr
Clarke took down the air as it was chanted by a lady of his acquaintance,
and thus restored the ballad to its original tune. The words and music
first appeared together in the Museum. Eitson does not give any air with
the words. To us the lady's tune seems a silly chant. Dean Christie has
two distinct melodies to the ballad in his " Traditional Ballad Airs," to
which he adds footnotes. What can evidently be trusted to tradition ?
There is a tune called "Gordon Castle" in "William M'Gibbon's Second
Collection, 1746, which suits the words well, and may perhaps be the
original melody.
420. YOUNG JAMIE, PEIDE OF A' THE PLAIN.
Tuner— "The Caelin of the Glen."
The tune given to this song in the Museum is none other than the fine
old air of " Barbara Allan," the Scottish version, considerably embellished.
The title of the melody is evidently obtained from Clark's " Flores Musicae,"
the only source where it is to be found previous to its appearing in the
Museum.
THE SCOTS MUSICAL MUSEUM. 193
421. OUT OVEE THE FORTH, ETC.
In his note Stenhouse says, "This song was written by Burns and
adapted to the air entitled ' Charles Gordon's Welcome Home.' " He adds,
" At the end of the song Burns has the following note : — ' The enclosed
tune is a part of Gow's " Charles Gordon's Welcome Home ; " but I do not
think the close of the second part of the tune happy. Mr Clarke, on look-
ing over Gow's air, will probably contrive a better.' Mr Clarke has
retained Mr Gow's tune, but, at the close of the second strain, he has
attended to the hint given him by the bard." Whether Burns is account-
able for an error, or it originated with Stenhouse, we cannot tell, but
there is no tune called " Charles Gordon's Welcome Home " in Gow's Col-
lection. On page 20, Second Collection, however, we find " Mr Charles
Graham's Welcome Home." As to Clarke's amendment the second part
of the tune was too long for the words, and he simply used the first six
bars of it, adding the two last of the first strain. The wrong name is given
to the tune by all who derive their information from Stenhouse.
422. WANTONNESS FOR EVER MAIR.
Stenhouse furnishes the following note : " This bagatelle was written by
Burns. Clarke thought it worthy of a place in the Museum, that the
tune might be preserved, which is ancient, and deserving of better lines
than those furnished by the bard." The first appearance of this so-
called ancient but charming melody is found in Aird's Third Selection,
1788, a work evidently well known by Burns.
423. THE HUMBLE BEGGAR,
The tune of this old Ballad was contributed to the Museum by Robert
Mackintosh, alias " Red Rob," a well-known musician in Edinburgh in the
latter part of the eighteenth century. He is said to have taken it
down from an acquaintance who used to sing the ballad with great
glee. According to Johnson the publisher, the song was in much request.
The ballad is humorous but not very consistent. The second line informs
us " He had neither house or hald, nor hame ; " and the second last line of
the song, which consists of ten verses, declares, " But he was first hame at
his ain ingle-side." The air is mostly recitative, and the two last bars are
identical with the Irish tune of the Boys of Kilkenny.
424. THE ROWIN'T IN HER APRON.
The Museum is the first source in which we find this air, whether it be
old or modern. Stenhouse says, " This ancient fragment, beginning, ' Our
194 EARLY SCOTTISH MELODIES.
young lady's a hunting gone,' with its original air, was recovered by
Burns." He omits, however, to give any further information as to where,
when, or how Burns obtained the words and tune. We have seen a MS. of
Charles II.'s time, having a tune written in tablature, called, " Shoe row'd it
in hir aprone," but it was not the same as that given in the Museum. It
may be mentioned that neither Scott Douglas nor Allan Cunningham, in
their editions, give the words and music of this ancient fragment said to
have been recovered by the poet.
Nos. 425, 426, 427. THE BOATIE ROWS.
This song in the Museum is set to three different tunes. The first is a
mongrel air, its first four bars are taken from " The Keel row," and the
remainder made up from " There's nae luck about the house." The second
is an original melody which never took the popular fancy, and the third
may be described as a wretched version of the tune as now sung. The
present excellent melody appears in the fourth volume of B. A. Smith's
Scottish Minstrel, 1822, but to whom we are indebted for it is not stated.
428. CHARLIE, HE'S MY DARLING.
Stenhouse asserts that the reader will find a genuine copy of the old air
•in Hogg's Jacobite Reliques, vol. ii. p. 92. He also says, "The air was
modernized by Mr Clarke," but without stating where Clarke got the old
air to alter ; it was certainly not from the Reliques, in which Stenhouse
assisted Hogg with the music. Stephen Clarke died about a quarter of a
century before Hogg's second volume was issued. The present excellent
version of the melody has been modelled from the set in the Museum, but
by whom we have not discovered. It is contained, however, in R. A.
Smith's Scottish Minstrelsy, vol. i., with the latest version of the words.
429. AS SYLVIA IN A FOREST LAY.
The excellent melody adapted to the verses in the Museum, is the com-
position of James Oswald, who published it under the name of " The
Maid's Complaint " in his Curious Collection of Scots Tunes dedicated to
the Duke of Perth, 1740, p. 14. He also included it in the Caledonian
Pocket Companion, book iv. p. 30. Stephen Clarke made some slight
alterations to render the tune more vocal, which might have been more
effectively done.
430. THE LASS OF ECCLEFECHAN.
This song is wedded to a tune called " Jack Latin," which occurs in
Oswald's Caledonian Pocket Companion, book xii. p. 6. It is also con-
THE SCOTS MUSICAL MUSEUM.
195
tained in John Walsh's Caledonian Country Dances, book ii., under the
same title. "Walsh's Collection was published somewhat earlier than
Oswald's, but we are unable to state the year of its issue. The first book
of the Caledonian Country Dances was published about 1735, but the tunes
contained in that work were probably taken from his yearly publication of
Twenty-four Country Dances. Hence it is difficult to ascertain the dates
of the various books or parts of which the collection consisted. The song
of " The Lass of Ecclefechan " was written by Burns.
431. THE COOPEE 0' CUDDY.
The air adapted to this song is well known as " Bab at the Bowster.''
It is very doubtful whether the tune is Scottish, the fact being that it is
found in the Cobbler's Opera, 1729, as "The Country Bumpkin," and
does not possess the peculiar character of a Scottish dance tune. It also
occurs in Walsh's Caledonian Country Dances, entitled, " The Country
Bumpkin," and in Aird's Selection, 1782, as Bab at the Bowster.
432. WIDOW, AEE YE WAKING ?
This melody is very old ; it dates back to the seventeenth century, and
appears in Henry Playford's Original Scotch Tunes, 1700, under the title of
"Widow, gin thou be waking." Playford's set is more vocal than the ver-
sion given in the Museum, and only ascends to high A in the fifth bar of
Wmow Gnr thou be wiKmo. I7d0_
•ffr
^
j|%%ir^w ^
r*
0*d _ +J- -* ' *
W^ i fJj jj i ^^ Lir^ i ^^iJtp Jj j ur^i p
the second strain. The tune is also contained in M'G-ibbon's Second Col-
lection, 1746, and in two of Oswald's publications. The words occur in
Eamsay's Tea-Table Miscellany, vol. ii. The following is the tune from
Henry Playford.
433. THE MALTMAN.
The tune to which this song is sung is well known in England as " Eoger
de Coverley." It is included in Playford's Dancing-Master, 1696. The air
is a quaint and lively one, in £ measure, but we are uncertain as to its
nationality, and consider it more English than Scottish in character. The
words of the song are from the first volume of the Tea-Table Miscellany.
190 EAELY SCOTTISH MELODIES.
434. LEEZIE LINDSAY.
In his note Stenhouse declares, " This beautiful old air was communicated
by Burns," and he adds, on the strength of a memorandum written by
Johnson on the original manuscript of the music, " Mr Burns is to send
words," but they were never transmitted. We give the above statement
for what it is worth. G. F. Graham says, " The old air, probably Highland,
was sent by Burns to Johnson." It is the music to which we desire to
turn our attention. Both Stenhouse and Graham say old air, but neither
have adduced any proof of its age, and the latter says, probably Highland,
which is simply conjecture. No such melody is found in any collection
whatever prior to the Museum having the name " Leezie Lindsay," or any
other title; and we therefore consider the tune coeval with the stanza.
Those who possess Stenhouse's Illustrations will observe that Burns is not
committed to a single word in it : " communicated by Burns," " was written
by Burns," and " Mr Burns is to send words," are not his ; does the last not
suggest that he never wrote the verse in the Museum ? and Johnson has
not prefixed to the tune " "Written for this work by E. Burns." The tune
in the Museum we prefer to what is the more modern one.
435. THE AULD WIFE AYONT THE FIEE.
This tune, we are informed by Stenhouse, is contained in Mrs Crockat's
Manuscript Music-Book, written in 1709, under the title of " The old Wife
beyond the Fire." If the statement is correct, it is the earliest source we
have for the melody. The air is also included in Walsh's Caledonian
Country Dances, book ii., entitled, " Set the old Wife beyond the Fire " ;
and in Oswald's Caledonian Pocket Companion, book v., page 2, " The old
Wife beyond the Fire." We have now ascertained that Walsh is the earlier
of the two printed collections. This melody is sung to the song of " Welcome
Eoyal Charlie." " The auld Wife ayont the Fire " is one of several songs
that were added to the first volume of the Tea-Table Miscellany.
436. FOE THE SAKE 0' SOMEBODY.
This song was written by Burns for the Museum, with the exception of
two lines. These were taken from a song of the same name in the second
volume of the Tea-Table Miscellany. The tune united to Burns's words is
not that now sung, and is taken from Oswald's Caledonian Pocket Com-
panion, book iv. It consists of one strain only. For the excellent melody
now in use we are indebted to Urbani, in whose Selection, book iv., 1800,
it appears (but not claimed by him), three years only after the Museum.
THE SCOTS MUSICAL MUSEUM. 197
437. THE CARDIN O'T, &o.
All the information which Stenhouse gives about the tune to this
excellent song written by Burns amounts to the following : — " The words
are adapted to a lively old Scotch measure called " Salt Fish and Dump-
lings," and G. F. Graham (who apparently could not find the air elsewhere)
adds, " but he does not mention where else it is to be found but in Johnson's
Museum." "We may state that the tune is contained in James Aird's
Selection of Scotch, English, Irish and Eoreigu Airs, &c, vol. iii. No. 487,
1788, under the title of " Salt Fish and Dumplings." It is, however, very
much older, as it occurs in Margaret Sinkler's Musick Book, written in 1710,
entitled " Queensbury's Scots Measure."
438. THE SOUTERS 0' SELKIRK.
Without referring to any traditional account of either the words or
music, we have evidence that the tune reaches back to the seventeenth
century. It is included in John Playford's Apollo's Banquet, 1687, entitled
" A Scotch Hornpipe." The air may be, however, of a much earlier date.
It does not occur in any printed collection of Scottish music before that of
Adam Craig. There were no music engravers in Scotland before Richard
Cooper, whose first known work was the music for Allan Ramsay's Scots
Songs in the Tea-Table Miscellany, circa 1726. We do not think it mar-
vellous that a number of our melodies were first printed in London, where,
no doubt, some of our Scottish musicians had settled at an early date.
439. ROCK AND WEE PICKLE TOW.
This is another very ancient tune. So far as known to us, we are
indebted to John Playford for its earliest publication. Stenhouse says,
" A copy of the tune, under the title of ' A Scottish March,' appears in
John Playford's Musick's Hand-Maid, published in 1678 : but the second
strain contains a redundant bar which spoils the measure." That, however,
is not its first publication. Playford included it in the 1663 edition of
Musick's Hand-Maid; and in both he spells Scotish with one "t" only. He
also inserted it in Musick's Recreation, 1669, under the title of "Montrose's
March." It has come down to us nearly in its early form, minus the
redundancies, though Oswald applies the title of " A Rock and a wi Pickle
Tow " to it in his Curious Collection, 1740.
440. TIBBIE FOWLER.
The tune united to this song probably belongs to the beginning of last
century. Allan Ramsay has a song in his Poems, 1720, called "Genty
198 EAELY SCOTTISH MELODIES.
Tibby and Sonsy Nelly," without directing it to be sung to any air, and it
also appears in the first volume of "The Tea-Table Miscellany"; but
whether the tune of " Tibbie Fowler " is referred to in the first edition of
that work we are unable to say, though it is mentioned in that work as
early as 1734. However, a very good version of the melody is given in
" The Musick for the Scots Songs in the Tea-Table Miscellany/' eirca 1726,
entitled " Genty Tibby." It is remarkable, nevertheless, that the tune
does not occur again till 1780, when it is contained in three different
collections as "Tibbie Fowler." Stenhouse remarks that two modern
stanzas were added to the song since the publication of the Museum. The
verses he refers to are included in William Napier's Selection, vol. ii., 1792,
five years previous to the Museum. The tune, we consider was originally
a dance one.
441. ON HEARING A YOUNG LADY SING.
Both the words and music of this song are understood to be from the
pen of Allan Masterton, an intimate friend of Burns, and the Allan of his
song, " Willie brewed a peck o' maut."
442. THEEE'S THREE GUDE FELLOWS AYONT YON GLEN.
In Stenhouse's note we are told, " the tune is taken from M'Gibbon's
First Collection of Scots Tunes, p. 18." This may be an innocent mis-
take, as it is in the Second Collection, at page 18, where it occurs, entitled,
" There's three good fellows ayont yon glen." Oswald has the melody
somewhat later in " The Caledonian Pocket Companion," book v., page 1,
under a slightly altered title.
443. THE WEE THING ; ok MARY OF CASTLE CARY.
We cannot find the tune for this song in any collection anterior to the
Museum. Stenhouse mentions that Macneill, the writer of the words, in-
formed him " that the tune to which his song is adapted in the Museum is
the genuine melody that he intended for the words." The tune, which is a
good one, never became popular, probably because it required to be
repeated so often, for the ten verses of the song, and the words for a very
long period have been sung to the tune " Bonnie Dundee." The song is
adapted to another air in " The Caledonian Musical Repository."
444. CAN YE SEW CUSHIONS.
With the exception of the following, " The late Mr Urbani of Edin-
burgh, an excellent musician and composer, was very fond of the melody,"
THE SCOTS MUSICAL MUSEUM. 199
we entirely scout Stenhouse's note. There is no proof that the words and
music were communicated by Burns to Johnson, and not the least truth
in the statement that they were first published in the Museum, nor that
Urbani afterwards introduced them into his second volume. The facts are,
Napier in his " Second Selection of original Scots Songs," and Urbani in
his second " Selection of Scots Songs," published the song and air respec-
tively in 1792 and 1794, and the fifth volume of the Museum was issued
in 1797. Stenhouse's musical history has been very defective. In George
Thomson's 4th volume the second strain of " Cro Challin " resembles this air.
445. THE GLANCING OF HEE APEON.
We refer the reader to our note on this melody, page 40. The set of the
tune given in the Museum is almost identical with the one in the Orpheus
Caledonius, 1733, which differs considerably from the version given to
D'Urfey's stanzas.
446. WALY, WALY.
This is merely another version of the melody which has been treated by
us in note 158. It is more florid, and probably an instrumental set of the
tune. Johnson had been requested to insert it in the Museum by Eobert
Eiddell, who died three years before its appearance, and it was likely done
as a mark of respect to the deceased.
447. SHE SAYS SHE LO'ES ME BEST OF A'.
This song, beginning " Sae flaxen were her ringlets," was written by
Burns for the Museum. In a letter to George Thomson of September
1794, Burns says, " Do you know a blackguard Irish song called ' Onagh's
Waterfall ? ' The air is charming, and I have often regretted the want of
decent verses to it." What the coarse verses were we do not know, but
Burns seemed to be well acquainted with the melody. We have not been
able to discover the tune in any Scottish publication prior to the Museum,
1797. It was introduced by Shield into " Marian," a ballad opera, 1788,
and appears in Watlen, .1798, as " Una's Lock."
448. THE BONIE LASS MADE THE BED TO ME.
The tune allied to this song, whether it be ancient or not, is not con-
tained in any collection we know prior to the Museum. For several bars
it has a strong resemblance to the tune of Johnny Cope, but changes
entirely. In a collection, of Twenty-four Scots Songs, published by John
Hamilton some years before the fifth volume, is one called " The Lass that
200 EAELY SCOTTISH MELODIES.
made the bed to me," but its tune is quite different to that in the Museum,
neither is it the same as The Cumberland Lass, which Chappell gives in the
" Popular Music of the Olden Time."
449. SAE EAR AWA.
The melody given to this song is entitled " Dalkeith's Maiden Bridge," a
Scots measure or hornpipe, which made its appearance probably for the
first time in James Aird's Selection of Scotch, English, Irish, and Foreign
Airs, vol. iii., 1788.
450. PUT THE GOWN UPON THE BISHOP.
The few lines given in the Museum are said to be a remnant of a ballad
supposed to have been " written about the period of the Eeformation," but
we suspect there is no foundation for such a statement. The air occurs in
" Aria di Camera," circa 1732, M'Gibbon's Third Book, 1755, and about the
same date in Oswald's Caledonian Pocket Companion, book vii. ; the latter
differing considerably from the former. The version in the Museum is taken
from Bremner's "M'Gibbon's Scots Tunes, with additions" 1762, and is much
nearer to that of Oswald than to M'Gibbon of 1755. It is probable the
doggerel words to the tune are little more than a rhyme coined about
the beginning of last century.
451. HALLOW FAIR
There's fouth of bkaw Jookies, &c.
The tune to which the words of this song are adapted is found in James
Oswald's Caledonian Pocket Companion, book vii., page 3, entitled " Walley
Honey." The song, which possesses a deal of humour of a racy descrip-
tion, was written by Robert Ferguson.
452. I'LL NEVER LOVE THEE MORE.
See English Claims, page 31.
453. MY FATHER HAS FORTY GOOD SHILLINGS.
In Popular Music of the Olden Time, at page 462, under the title of " I
am a poor Shepherd undone," Chappell makes mention of a black letter
ballad called " The Maiden's sad complaint for want of a Husband," etc., to
the new west country tune, or " Hogh, when shall I be married." Ritson
THE SCOTS MUSICAL MUSEUM. 201
also refers to it. Chappell states that three stanzas commencing " My
father has forty good shillings," have been appropriated in collections of
Scotch songs. "Whether they were appropriated by Scotland or England
we shall leave for others to determine : what is of more importance, the
Museum tune is not the air given by Chappell.
454. OUE GOODMAN CAME HAME AT E'EN, &c.
This very strange ballad is considered by many persons to be a remnant
of the Jacobite times. It is contained in David Herd's Scots Songs,
Ancient and Modern, 1776. Stenhouse tells us that Mr Clarke took down
the tune for Johnson from the singing of an old man named Geikie, a hair-
dresser in the Candlemakers' Eow, who sung it with great glee. We do
not doubt this statement, for so far as we are aware it does not occur in
any earlier collection.
455. SIE JOHN MALCOLM.
We have referred already to this tune in note 354. It is evidently
taken from Eobert Bremner's Collection of Scots Eeels or Country Dances,
curtailed in the second strain, and the two final notes changed. The tune
is contained in John Walsh's Caledonian Country Dances, book hi., circa
1741, entitled " Allister."
456. LIZAE BAILLIE.
This ballad is taken from the fragments in D. Herd's second volume of
Scots Songs, Ancient and Modern, 1776, omitting the first verse. Sten-
house says, " This charming old simple melody of one strain, to which the
verses are adapted in the Museum, was communicated by Burns. It is the
genuine original air of the song, which has long been a favourite at every
farmer's fireside in Scotland. The words and music never appeared to-
gether in print, however, until the publication of the Museum." We are
inclined to doubt the antiquity of the tune, and Stenhouse's assertion is not
correct ; the first six verses given in the Museum were published along
with the air in Wm. Napier's Selection of Scots Songs, vol. ii., 1792.
o
457. THE EEEL 0' STUMPIE.
This old reel tune had no words till Burns wrote the two verses for the
Museum of " Wap and row the feetie o't." The tune is in Aird's and
many other collections called " Stumpie," but its earliest appearance so far
as known is in John Walsh's Caledonian Country Dances, book i., circa
202 EAELY SCOTTISH MELODIES.
1734, entitled " Butter'd Pease." Stenhouse says, " The Eeel of Stunipie
was formerly called ' Jocky has gotten a wife,' and was selected by Mr
Charles Coffey for one of his songs, beginning ' And now I'm once more set
free,' in the opera of ' The Eemale Parson, or Beau in the Suds,' acted at
London, 1730." We understand this opera was condemned on its first
performance, and if that tune was introduced into it the former name was
evidently not " Jocky has got a wife," which Walsh includes in his third
book — an entirely different melody in f measure, erroneously given in f
measure.
458. I'LL AY CA' IN BY YON TOWN.
The two songs in the Museum which are sung to this air were written
by Burns. The earliest authorities we have for the melody, however, are
James Oswald and Bobert Bremner, both of whom published it about the
same date, the former in his Caledonian Pocket Companion, book x., page
15, and the latter in his Scots Beels or Country Dances, page 6, in 1757.
In both these works it is entitled, " I'll gae nae mair to your Town," aDd is
identical in every respect.
459. WILL YE GO AND MAEEY KATIE ?
The old reel to which the words of the song are adapted in the Museum
is contained in Neil Stewart's Collection of the Newest and Best Eeels or
Country Dances, called " Will ye go and marry Kettie," page 22. It is not
in Bremner's Collection, as asserted by Stenhouse. The tune occurs in
many later collections, and is that sung to " Wha wadna fecht for Charlie ? "
460. BLUE BONNETS.
We are informed by Stenhouse that " This fine old pastoral air appears
in the modern part of Mrs Crockat's Manuscript Music-Book, dated 1709,
under the title of ' Blue Bonnets.' " It is apparent from this note he
admits the manuscript was not wholly written in 1709. Oswald published
the tune in 1742, and M'Gibbon in 1746 ; the latter version being the
more embellished. Oswald's is nearly the same as that in the Museum.
Though Stenhouse says the two songs, "Wherefore sighing art thou,
Phillis ? " and " Powers Celestial ! whose protection," were written by
Burns, we are doubtful if either is from his pen, as Johnson in his fifth
volume placed in the index " Burns " to the songs which he wrote, and to a
number throughout the volume, " Written for this work by Eobert Burns."
Nevertheless we are of opinion the melody is not a genuine Scottish one,
but an English imitation so common in last century. Notwithstanding its
publication by Oswald and M'Gibbon, it possesses no Scottish characteristics
THE SCOTS MUSICAL MUSEUM. 203
461. THE BEOOM BLOOMS BONIE.
Stenhouse says, " This fragment of an ancient song, etc., together with
the elegant original little air of one strain, etc., were recovered by Burns,
and transmitted to Johnson for the Museum. This song is to be found in
no other work." We quite agree with the last sentence, but are doubtful
about the recovery of the song and air, with its alleged antiquity. It was
probably a street ballad.
462. THE EANTIN' LADDIE.
This old ballad with its original air, Stenhouse states, was communi-
cated by Burns to Johnson for the Museum. Whether either the verses
or air are old, the latter is a good melody of a single strain, and has
apparently a Northern origin. Gow has it in his second Kepository, 1802,
called " Lord Aboyne."
463. THE LASS THAT WINNA SIT DOWN".
This song was the production of Alexander Bobertson, an engraver in
Edinburgh. The verses are adapted to a tune in Mel G-ow's First Collec-
tion, 1784, called " Mr Graham of Orchills Strathspey," page 3, and it also
occurs in Aird's Third Selection, 1788. The air is slightly altered in the
Museum, and is evidently a plagiarism of Daniel Dow^ Highland Skip.
464. O MAY THY MORN.
This song is headed in the Museum, " Written for this work by Bobert
Burns." Stenhouse says the air is evidently a slight variation of the
ancient tune called " Andro and his Cutty Gun," inserted in a former part
of the work. On examining the two melodies we find " O May thy Morn "
to be indebted for two bars to " Andro and his Cutty Gun," and no more ;
we think rather it is derived from " The Boyne Water." Stenhouse also
states Burns's manuscripts of the music and words are in the editor's
possession. Observe neither he nor Burns call it an old tune, nor state
whether it is to be found anywhere prior to the Museum. It is the air
given by Hogg to " The Wee Wee German Lairdie."
465. MY MINNIE SAYS I MANNA.
The tune to which this song is adapted in the Museum is contained in
Oswald's Caledonian Pocket Companion, but, though it is found there, we
204 EAELY SCOTTISH MELODIES.
do not believe it is Scottish. Both the song and the melody we consider to
be imitations which were so common last century, and sung at Vauxhall
Gardens and other places of public entertainment. Neither would its
appearance as a Scottish song or air in " Pills to Purge Melancholy," nor in
the " Beggars' Opera," convince us.
466. THE CHEERY AND THE SLAE.
Tune-— "The Banks of Helicon."
Without making any remark concerning this ballad, we would express
ourselves as to the melody in the Museum given by Johnson. It is our
opinion, whether ancient or not, there is a somewhat of "Duncan Davidson,
or Ye'll a' be welcomed back again," contained in it, and we cannot receive
it as the original. The tune which Stenhouse gives in his Illustrations
may be of a much earlier date, but to affirm it to be Scottish is a different
matter. It rather seems the production of some learned musician from its
form and regular modulation.
467. AS I CAME O'ER THE CAIRNEY MOUNT.
The air to this song is not one of the many tunes which bear the title of
" Highland Laddie." It appears in Oswald's " Curious Collection of Scots
Tunes," dedicated to the Duke of Perth, 1740, under the name of the
" Highland Lassie," and it also occurs in two of his later publications. We
presume it was composed about that date, but it is not claimed by Oswald.
In the additional notes to Stenhouse's Illustrations, we are informed Burns
sent other verses to Johnson, entitled " The German Lairdie." Aird, in his
Third Selection, 1788, has included the air, and named it, "As I came o'er
the Cairney Mount."
468. HIGHLAND LADDIE.
The tune given in the Museum to this song is found in Oswald's " Collec-
tion of Curious Scots Tunes," dedicated to the Prince of Wales, 1742. It
has got no name attached to it, but it is preceded by a slow tune entitled
" The Highland Laddie." In a number of later collections the tune receives
the title of The Black (dark) Highland Laddie, though in Bremner's Scots
Reels, 1759, it is simply styled " The Highland Laddie."
469. CHRONICLE OF THE HEART.
Tune — " Gingling Geoedie."
This air we have failed to find in any printed collection prior in date to
the Museum, nor apparently did Stenhouse make any such discovery. He
THE SCOTS MUSICAL MUSEUM. 205
remarks, however, " it has such a striking resemblance to the air published
in Oswald's Caledonian Pocket Companion under the title of ' Pioberachd
Mhic Dhonuil,' &c, that there can scarcely be a doubt as to the locality of
the air." So far as resemblance goes he might have said " Johnny Cope,"
as there is absolutely none. A superior and plainer version of the tune is
in Margaret Sinkler's Manuscript, 1710, entitled " jingi/ing Gordy."
470. WILT THOU BE MY DEAEIE?
Johnson has, "Written for this Work by Eobert Burns." The air to
which it has been adapted is contained in Neil Stewart's Collection of the
Newest and Best Eeels, &c, a work published in numbers, the first in
1761, six being issued as early as 1762, but the date of the remaining three
numbers, which complete the collection, we have been unable to discover.
It is called " Shoe Maker's Daughter," and is printed on page 72, the last of
the collection. In Alexander M'Glashan's Eeels, &c, 1780, it is named
"The Sut tor's Daughter," and in the collection published by Angus Cumming
the same year, it is styled " The Dutchess of Buccleugh's Eeell." The tune
does not appear in Bremner's Scots Eeels, though said to be by Stenhouse.
471. LOVELY POLLY STEWAET.
Tune — "Yb'ee Welcome Chaklie Stewart."
Stenhouse asserts, that " the words are adapted to an old favourite tune
called ' Miss Stewart's Eeel,' to which some Jacobite verses, written about
the year 1748, were adapted when the tune received the new name of
' You're Welcome Charlie Stewart.' " We are not informed where Stenhouse
found the tune under the name of " Miss Stewart's Eeel." Eobert Bremner's
" Collection of Eeels " is the first printed in Scotland, and the tune called
" Queensberry House " appears in the fifth number, which was published in
1758. Whether " Miss Stewart's Eeel " or " Queensberry House " was the
original title, an older set of the same air, entitled " The Confederacy," is
found in Walsh's Caledonian Country Dances, book ii., circa 1736.
472. THE HIGHLAND BALOW.
In the "Illustrations" Stenhouse says, "This curious song beginning 'Hee
balow, my sweet wee Donald,' is a versification by Burns of a Gaelic
nursery song, the literal import of which, as well as the air, were com-
municated to him by a Highland lady. The bard's original Manuscript is
in the Editor's possession." However this may be, both words and tune are
trifling and of no account. The music is not worth calling a melody, even
as an old Highland Groonan.
206 EAELY SCOTTISH MELODIES.
473. AULD KING COUL.
England, according to William Chappell, possessed more than one tune
bearing this title. The first authority he quotes for the air is Gay's
" Achilles/' a ballad opera published in 1733. " Old King Cole/' he adds,
" is also sung to another tune," which we find in no way resembles that in
the ballad opera, but seems reminiscent of the melody " The British
Grenadiers," in the minor. The air in the Museum appears to be a version
of the tune in Gay's " Achilles," changed from the minor into the major
mode. Scotland, in our opinion, has no claim to the melody, and it is not
contained in any earlier Scottish collection.
474 THE EINAWAY BRIDE.
This song is considerably older than the Museum. It is contained in
Yair's Collection, Edinburgh, 1751, and in Herd's Collection, vol. ii., 1776.
The tune we cannot find anywhere before its appearance along with the
words in the Museum, so we are indebted apparently to the Roxburghshire
gentleman who communicated it to Mr Clarke.
475. BANNOCKS 0' BEAR MEAL.
Stenhouse tells us that " the air was originally called ' The Killogie,' and
in 1688 Lord Newbottle wrote a satirical song on the Revolution, to the
tune which he named Cakes of Crowdy." The reference to Lord Newbottle
is evidently taken from Hogg's Jacobite Relics, 1819. Surely if the song
was written in 1688, the orthography would differ from that given by
Hogg. The air, however, is found in Margaret Sinkler's Manuscript Book,
1710, entitled " Bonox of beare meal, Cakes of Croudie." It appears also
in Oswald's Caledonian Pocket Companion, book iii., as " Banoks of Bear
Meal," and as " There was a lad and a lass in a Kilogie," in book vi
476. WAE IS MY HEART.
We are frequently told by Stenhouse that Burns recovered this or that
air, but occasionally no explanation is given how they were acquired. He
also states that Burns never wrote any of his songs until he was well
acquainted with the melody. Whether the verses of this song are beautiful
or otherwise is not our concern, but we may point out that Johnson neither
prints letter nor name to signify that they were written by Robert Burns,
although he was careful to do so in the fifth volume, which was published
after the bard's death. Our impression is that a number of compositions
THE SCOTS MUSICAL MUSEUM. 207
of the time were palmed on Burns as old tunes, and, in our opinion, this is
one. It is evidently a compound of " Gala Water " and " Will ye go to
Flanders." There is great discrepancy in the account given of the words
by Stenhouse, Cunningham, and Scott Douglas.
477. THERE WAS A SILLY SHEPHERD SWAIN.
This melody we may class as belonging to the wandering minstrel or
ballad-singer fraternity, and through them would find entrance into farms
and country houses. Both the song and tune are destitute of Scottish
character if we except the flat seventh in the latter, which, we think, is
wrong. The verses seem to be English slightly clad in Scottish idiom.
478. KIND ROBIN LOOES ME.
In the " Hlustrations " we are informed by Stenhouse that " The words of
this song, beginning ' Robin is my only jo,' are taken from Herd's Ancient
and Modern Songs, printed in 1776. There is a much older set of verses
to the same air, however, but they are not quite fit for insertion. In the
' Scotch Presbyterian Eloquence,' which was written in the year 1692, it is
said, that Mr James Kirkton, in October last, preaching on hymns and
spiritual songs, told the people — there be four kinds of songs — profane
songs, malignant, allowable, and spiritual songs ; as,
' Sly mother sent me to the well —
She had better gane her sell ;
For what I gat I darna tell,
But kind Robin lo'es me.'
This author of the Presbyterian Eloquence, however, was incorrect in
giving these four lines as a verse of ' Kind Robin lo'es me,' for the three
first lines belong to an old song called ' Whistle o'er the Lave o't,' which
may be seen in Herd's Collection above referred to. The old words of
' Kind Robin lo'es me ' begin thus —
* Hech hey ! Robin, quo' she,
Hech hey ! Robin, quo' she,
Hech hey ! Robin, quo' she,
Kind Robin lo'es me.
Robin, Robin, let me be
Until I win the nourrice fee :
And I will spend it a' wi' thee,
For kind Robin lo'es me.'
&c kc. &c."
Stenhouse gives the words said to belong to the old song, but does not
state where they are to be found. We have drawn attention to his account
for the following reasons — (1) There is an earlier melody contained in the
208
EAELY SCOTTISH MELODIES.
Blaikie Manuscript called " Kind Eobin," which has furnished the basis
for the modern air, and which suits the old words perfectly, including also
" My mother sent me to the well." (2) While we find in Herd the four
lines beginning " My mother," &c., we think he may have been mistaken
in assigning them to " Whistle o'er the lave o't," because the author of the
" Presbyterian Eloquence," who wrote upwards of eighty years before him,
was more likely to know the song then current. (3) Stenhouse says of
" Whistle o'er the lave o't," " The air was composed about the year 1720
by John Bruce, a musician in the town of Dumfries" (see our note). The
modern air is first printed in William M'Gibbon's Collection, 1742, under
the title of " Eobin Cushie."
DID BOBItt ^-*| 1892
479. WE'LL PUT THE SHEEP-HEAD IN THE PAT.
This curious old song appears to be a version of one called "Miss
Cuddy," contained in the sixth volume of " The Pills to Purge Melancholy,"
and commencing " Poor Sawney had marry'd a wife." Three verses of it,
however, are omitted in the Museum. In the Pills, it is set to a tune in
£ measure, totally different from the Scottish air in Johnson, and very
much inferior. We have failed to discover the melody in any prior collec-
tion, though we suspect it is considerably older.
480. HEEE'S HIS HEALTH IN WATEE.
The tune to which the words of this song are adapted is called " The job
of journey work." It is contained in Aird's Third Selection of Scotch,
English, Irish, and Foreign Airs, &c, 1788, and is the first tune in that
volume. The melody is somewhat sprightly, though not original, the com-
poser having borrowed several bar measures from " My wife has ta'en the
gee."
481. THE MAID GAED TO THE MILL.
We are at a loss to comprehend how Johnson should have admitted
such a song into the Museum, after finding fault with " Ae day a braw
woo'er," by Burns, on the score of its double entendre, and more especially
as the tune adapted to it is " John Anderson my jo." It would have been
better omitted altogether, as the melody is previously given, but perhaps it
was needed to fill the fifth volume.
THE SCOTS MUSICAL MUSEUM.
209
482. SIE PATEICK SPENS.
There is a long account given in Stenhouse's Illustrations of what is
called "The fine old ballad," and its real or supposed connection with
events that occurred in Scottish history, but not a single word respecting
the air. We pass over the ballad, and direct our attention to the melody
in the Museum. It is not printed in any earlier work that we know of,
from which circumstance we conclude that it is a contemporary production.
The last four bars are taken from "Will ye go to Flanders," or "Gramachree
Molly." In his Scottish Songs, 1794, three years before the Museum,
Eitson gives the ballad, leaving a blank space for the tune. A different
tune is given by George Thomson in his fourth volume, and still another
one in Hopkins' edition of Eitson's work, 1869. We may ask, therefore,
which of the three is the original melody ? even if we admit the ballad to
be ancient.
483. THE WEEN, ok LENNOX LOVE TO BLANTYEE.
This air is of considerable age. It is a dance tune of the Strathspey
kind, which is included in Eobert Bremner's Scots Eeels, 1757, page 17.
Stenhouse repeats his assertion that " This tune is modelled from the air
called dear Mother what shall I do." For further remarks we refer our
readers to note No. 236.
IdtNKOX LOVE TO BUS TBB. 1710.
Y-}\mnm\snflirii\mfinn\rpi) m }M
484. GUDE WALLACE.
Whatever merit may be found in the so-called old ballad, there is not
the least in the melody. We may state that the air is not contained in
any source, manuscript or print, that we know of anterior to the Museum,
nor has it since been reprinted. Stenhouse says, " The bard's (Burns)
MSS. of the music and the words are in the possession of the editor."
What has become of these MSS ? They would be both important and
curious !
485. THE AULD MAN'S MAEE'S DEAD.
Stenhouse informs us that the words and tune of this strange old song
were believed to be the composition of Patie Birnie of Kinghorn. Allan
210 EAELY SCOTTISH MELODIES.
Eamsay, whose "Elegy on Patie Birnie" is dated January 25th, 1721,
introduces him as —
" The Famous Fidler of Kinghorn,
Wha slaid the stick out o'er the string,
With sic an art,
Wha sang sae sweetly to the Spring,
And rais'd the heart."
He makes Patie both vocalist, instrumentalist, and author in the following :
" This sang he made frae his ain head,
And eke, The Auld Man's Mare she's dead.
Tho' Peets and Tures and a's to lead,
fy upon her !
A bonny auld thing this indeed,
An't like ye'r Honour."
Stenhouse alleges that it was composed as early as 1660. It is remarkable,
however, that the song is not found in any collection prior to the Museum,
nor the melody before Aird's Selection of Scotch, English, Irish, and
Foreign Airs, vol. ii., 1782, though we have no reason to doubt that both
are much earlier.
486. THE WINTEE OP LIFE.
We are informed by Stenhouse that " This song was written by Burns for
the Museum. He likewise communicated the plaintive air to which his
verses are adapted. It is apparently borrowed from the English tune
' Chevy Chase,' in Dale's Collection." Granting that it has been borrowed
from Dale, we do not admit that the melody is English, though the words
are the English version. Dale gives the identical air published by
Bremner in the fourth volume of M'Gibbon's Scotch Tunes with additions,
1768, while Chappell claims for England two entirely different tunes as
those of " Chevy Chase."
487. GOOD MOEEOW, FAIE MISTEESS.
The words of this song are taken from Herd, 1776. The melody pro-
bably made its first appearance in the Museum, and Stenhouse tells us
" that the beautiful air was communicated to Mr Clarke by a gentleman
who sung the song with much pathos and feeling." Still this original air
may not be a Scottish one. The melody has much Irish character, and
being in the minor mode, with its sixth sharp or major throughout, we are
doubtful of its nationality.
488. THE HAWS OF CEOMDALE.
This song is a complete absurdity. It is well known that the great
Montrose never fought any battle at Cromdale. The only battle fought at
THE SCOTS MUSICAL MUSEUM. 211
Cromdale occurred in 1690, long after the death of Montrose, when Sir
Thomas Livingston defeated the Highland army under General Buehan,
who espoused the cause of King James. Stenhouse says, "The old
name of the tune, as appears from a manuscript of it in the editor's
possession, was 'Wat ye how the Play began?' and this is likewise
the title of it in Oswald's Caledonian Pocket Companion" That either
Stenhouse's old name, or " The Haughs of Cromdale," was the original title
of the tune, we consider not proven. The melody is contained in Margaret,
Sinkler's MS. Book, 1710, entitled " New Killiecrankie," the name probably
being derived from the engagement in which Dundee fell in 1689.
489. NO DOMINIES FOE ME, LADDIE
This song in the Museum, we are told by Stenhouse, " was copied from
Yair"s Charmer, vol. ii, page 347, printed at Edinburgh in 1751." He
likewise says, "The editor is credibly informed that this ballad was written
by the late Bev. Mr Nathaniel Mackay, Minister of Cross-Michael, in the
Stewartry of Kirkcudbright." In the additional Illustrations we get the
following extract, copied from " Buchan's Gleanings of Scarce Old Ballads,"
Peterhead, 1825, 12mo: — "The author of this excellent song," says
Mr B., " was the Bev. John Forbes, Minister at Deer, Aberdeenshire."
This dispute is a matter of indifference to us, as it does not in the least
affect the melody, which, so far as we have been able to discover, does
not appear in print before the Museum. Bitson gives the ballad in
his "Scotish Songs," 1794, but he has left a blank space for the tune,
which Hopkins has supplied in his reprint, 1869, from the Museum. The
air is evidently a Scottish composition
490. THE TAYLOR
This song is adapted to a tune called " The Drummer." Stenhouse says,
" it is an old reel tune in Bremner's Collection, 1764." We cannot account
for such mistakes : the tune does not appear in that collection Possibly
Stenhouse did not possess Bremner, and had mistaken for it (title perhaps
being lost) Neil Stewart's Collection of the Newest and Best Beels, etc.
" The Drummer," however, was published by John Walsh in his "Caledonian
Country Dances," book iii, circa 1741, a date considerably earlier than
either Bremner or Stewart.
491. THEBE WAS A WEE BIT WIFFrKIE.
" This queer auld sang," Stenhouse informs us, " was written by Dr
Alexander Geddes, a Catholic Clergyman, author of ' Lewie Gordon ' and
several other poetical pieces of merit." He adds, " The words of the song
212 EARLY SCOTTISH MELODIES.
are adapted to a Highland Strathspey composed by the same author but it
is evidently modelled from the tune called ' The Boatie Rows.' " We are
at a loss to understand Stenhouse's assertion. The tune is a compound of
the old air " Over young to marry yet," and " Cameron's got his wife
again." To " The Boatie Rows " we fail to see any resemblance. The song
possesses considerable humour. In the Scotsman, Jan. 22, 1831, it is stated,
" The Author of the songs, ' The Wee Wifikie,' and ' The Kail Brose o' Auld
Scotland,' is said to be Deacon Alexr. Watson, Tailor, Aberdeen, who died
on the 5th inst., in his 85th year."
492. THERE GROWS A BONIE BRIER BUSH, Etc.
This song, with the exception of a few lines which are old (according
to Stenhouse), was written by Burns for the Museum. It is accordingly
marked with the letter Z, to denote its being an old song with additions.
Burns also communicated the air to which the words are adapted. It
is apparently the progenitor of the improved tune called " Eor the lake of
gold she's left me." In the fifth volume of the Museum, Johnson inserts
the following note : — " The songs in the four preceding volumes marked B,
R, X, and Z, and the Authors' names, cannot be inserted in this Index, as
the Editor does not know the names of those Gentlemen who have favoured
the Public and him with their productions. There are a number marked
B and R which the Editor is certain are Burns's composition." Yet in this
volume there are some attributed to Burns which are not by him.
Whether Stenhouse is right in ascribing " There grows a bonie brier bush "
to Burns, we know he is wrong concerning the melody. Instead of
assertion we want proof as to which is " the progenitor." " For Lake of
Gold she left me " is contained in the Blaikie Manuscript, 1692.
493. COULD AUGHT OF SONG.
This song was written for the Museum by Burns. The air, however, is
an Anglo-Scottish one by Dr Samuel Howard, which is set to Ramsay's
song in " The Gentle Shepherd," beginning, " At setting day and rising
morn," and included in " Calliope, or English Harmony," vol. ii., page 63,
as " The Faithful Shepherdess." The modulation in the first strain seems
too academic for a Scottish melody.
494. ! DEAR, WHAT CAN THE MATTER BE.
Both this song and its melody are Anglo-Scottish, although neither the
author nor the composer are known. The words and music are not much
earlier than the Museum, 1797 ; at most a few years. The song was
very popular for a considerable length of time, and the tune also in
many forms.
THE SCOTS MUSICAL MUSEUM. 213
495. HEEE'S TO THY HEALTH, MY BONNIE LASS.
Time — "Loggan Bukn."
Burns, it is said, communicated the air along with the song, and he
called the tune Laggan Burn. It is apparently a modification of a Strath-
spey in Gow's Third Collection, 1792, page 15, claimed by Nathaniel Gow
under the title of " Lady Shaftsbury's Strathspey," but the tune was pub-
lished in Malcolm M'Donald's Second Collection, 1789, entitled " Greenend
Park." The melody has been somewhat abbreviated in the second strain
to suit the words. We have never seen the tune styled " Laggan or Loggan
burn " before its insertion in the Museum.
496. JENNY'S BAWBEE.
Mr William Chappell has set up an absurd claim for this tune as an
English composition. We simply repeat our argument, given in Lhe
introduction to the Glen Collection of Scottish Dance Music, vol. i., in
order to expose the fallacy. Mr Chappell not only claims the tune as
English, but he accuses a countryman of his own, Stephen Clarke, of
making changes in well-known airs to fit them for the Scots Musical
Museum, of which Clarke was the ostensible musical editor. Little
scruple was shown in making such changes, for even the well-known
country dance and nursery song, " Polly put the Kettle on," was trans-
formed into a Scotch tune for the Museum in 1797. Mr Chappell
further has the hardihood to say that the words of "Jenny's Bawbee"
were adapted to it, although, as they begin " A' that e'er my Jenny had,
my Jenny had, my Jenny had," they were evidently intended for the tune
of " Sike a Wife as Willy had, as Willy had, as Willy had." Now while it
is quite true that " Jenny's Bawbee " appears in the " Scots Musical
Museum " for 1797, and that three years previously the same tune, under
the title of ''Polly put the Kettle on," had become very popular with
young ladies, by means of " Dale's Variations for the Pianoforte," it is
equally true that if Mr Chappell had extended his researches a little
farther, he would have found "Jenny's Bawbee" in Archibald Duff's
Collection, Aird's Selection, vol. iii., and Joshua Campbell's Collection,
1794, 1788, and 1778 respectively. In Dale's Collection of Eeels and
Dances, No. 2, p. 8, it is called " Jennie's Bawbie," or " Molly put the
Kettle on," not Polly. The popular verses are from the pen of Alexander
Boswell. George Thomson asked for the exclusive right to publish the
words, which was refused.
214 EAELY SCOTTISH MELODIES.
497. IT WAS A' FOE OUK EIGHTFU' KING.
We have neither found the words nor the melody of this song in any-
work prior to the Museum, and Stenhouse does not mention any publica-
tion that contains either of them. Charles Kirkpatrick Shafpe does not
believe the verses were written by Burns, nor do we ; Johnson does not in
any way claim them.
498. THE HIGHLAND WIDOW'S LAMENT.
This pathetic song, Stenhouse says, was wholly composed by Burns for
the Museum, unless we except the exclamation, Och on, ochon ochrie !
We are doubtful if this is the truth; Johnson neither places name nor
letter to it. The air is a perfect little gem, which we have failed to dis-
cover in any earlier collection. It is evidently a Highland melody.
499. GLOOMY DECEMBER
Jphnson has not failed to state, "Written for this work by Eobert
Burns," nor to add the letter " E " at the end of the verses ; we cannot
doubt the authorship. The melody to which the words are adapted is
beautiful, and worthy of being united to them. It appears to have been
chosen by Johnson, as the verses were intended for the tune of " Wandering
Willie," which he had already published. The tune is seemingly of
Highland origin.
500. EVAN BANKS.
The tune to which the words of this song are adapted is called " Green
grows the Bashes." It is the last melody in Oswald's Curious Collection
of Scots Tunes dedicated to the Duke of Perth, 1740, slightly altered in
the final cadence. This is not the tune now known as the " Green grows
the Eashes " of Burns. Johnson was wrong in attributing to Burns the
song of " Evan Banks " though found in the poet's handwriting, and his
mistake has been followed by various editors. It has been ascertained
to be a composition of Helen Maria Williams.
VOLUME VI., 1803*
501. MY PEGGY'S FACE.
To this song Johnson has prefixed, " Written for this Work by Eobert
Burns." The poet after the verses adds the following note : — " Dear Mr
Publisher, — I hope against I return, you will be able to tell me from Mr
* Preface dated June 4th, 1803. Issued March 5th, 1804.
THE SCOTS MUSICAL MUSEUM.
215
Clarke if these words will suit the tune. If they don't suit, I must think
on some other air; as I have a very strong private reason for wishing
them in the 2d volume. Don't forget to transcribe me the list of the
Antiquarian Music. — Farewell, R Burns." We have not the least doubt
that the words were the bard's, but we have no evidence that the music
published in the "Museum'' accompanied the verses. Stenhouse states,
" the song having been mislaid, it did not make its appearance till the
publication of the last volume of that work." We are afraid Stenhouse
has gone too far, and the melody being new no name was given it but
that of " My Peggy's face," and that title probably bestowed on it after
the Poet's death. At any rate this excellent melody is not contained in
any collection published prior to the " Museum." The following extract
we give from Scott Douglas's edition of Burns's Works : — " This other
poetic tribute to the immortal charms of Peggy Chalmers, was intended
to appear along with the one immediately preceding, in Johnson's second
volume ; but the Gaelic tune selected for it (" Ha a chaillich air mo
Dheith ") seems to have been pronounced unsuitable. The song accordingly
was not included in Johnson's collection till many years after the poet's
death, when William Clarke (son of the deceased friend of Burns) set it for
the sixth volume, to the Highland air referred to. Instead of reproducing
the Gaelic tune, which does not echo the sentiment of the song, we present
the reader with the following simple Scots melody, which is faultless in
that respect." The assertion made by Scott Douglas regarding the tune,
we consider to be a mere invention. Granting the Gaelic air was sent to
Johnson by Burns, it is not the one given in the Museum. We reproduce
the Gaelic air and Johnson's air. There is no proof that the note Burns
sent to Johnson contained any tune. The Poet was probably in Edin-
burgh, and had previously mentioned some particular tune to Johnson,
desiring him to ask Clarke if the words would suit it. We think the
note was hurriedly written (being undated), when Burns was about to set
out on a tour, and he desired the information against his return. It seems
to have been no more than a reminder. If Burns wrote the song, and was
urgent for it to appear in the second volume, 1788, there is no good reason
given for its omission till 1804.
Ka a Chaillich ait mo dheidh
M Y PEGGY'S I ACE, MY PEGGY'S FOR-M.
216 EAELY SCOTTISH MELODIES.
502. MY BOY TAMMY.
This song, along with the air, was first published in an Edinburgh
Magazine called "The Bee," May 1791. The words were written by
Hector Macneill, but by whom the music was composed we have been
unable to ascertain ; at any rate, the tune seems to have been deriyed from
the old melody of "Muirland Willie." The following year we find it
included in William Napier's " Second Selection of Original Scots Songs."
George Thomson also has it in his " Select Original Scotish Airs," vol. ii.,
1799, under the name of " The Lammy." Urbani published the song in his
fourth volume, 1800, which shows it had become a favourite at an early
date.
503. EED GLEAMS THE SUN.
The words of this song are adapted to the tune called "Niel Gow's
Strathspey." It was composed by Duncan M'Intyre, a teacher of Scotch
dancing in London, about the end of last century, and published by him in
his Collection of Slow Airs, Beels, and Strathspeys. As a Strathspey the
tune is a great favourite, but is not so effective as a setting to the verses.
504. O STEEE HER UP AND HAD HEE GAUN.
This song has been wedded to an excellent and very ancient Scots
measure, which dates from the seventeenth century. A very much better
version of the melody than that given by Johnson is included in Henry
Playford's " Original Scotch Tunes," published in 1700, entitled " Steer her
up and hold her ganging." It appears also in other publications.
505. WHEN I GAED TO THE MILL.
The melody to which this song is written is an adaptation of " The Birth
of Kisses," a tune contained in Oswald's Caledonian Pocket Companion,
book x., page 13, not in book ix. as stated by Stenhouse. We suspect that
the air is not a Scottish one ; there is a considerable touch of the Irish
style about it, which is even more pronounced in the version Johnson
gives in the Museum.
506. WHAE" ESK ITS SILVER STEEAM.
This song is united to a melody taken from Oswald's Caledonian Pocket
Companion, called " I'll never see him more." The second strain of the
THE SCOTS MUSICAL MUSEUM. 217
tune, given by Oswald in his sixth, book, page 1 6, consists of six bars (pro-
bably the original words did not require more), whereas in the Museum
two bars more have been introduced. Stenhouse must have examined the
" Caledonian Pocket Companion "• in a careless manner, otherwise he could
not have said, " This tune is omitted in the Index of Oswald's Work." It
is found there, but out of its alphabetical order, placed at the end of the
index to the sixth book.
507. THO' FOE SEVEN YEAES.
The old tune of "Bannoks of Bear Meal and Bannoks of Barley" is
attached to this song. As mentioned by Stenhouse, the same words are
united to a poor version of the tune in Watts' Musical Miscellany, vol. iv.,
1730, entitled " I'll never leave thee." Watts calls the song " a dialogue
between Jonny and Nelly." Stenhouse says, " A lad and a lassie lay in a
Killogie " was the name of the melody, which was afterwards called " Ban-
nocks o' Bear Meal and Bannocks o' Barley," but his assertion wants cor-
roboration. He also alleges that the song " One day I heard Mary say,"
with the tune of "I'll never leave thee," is given in the Orpheus Caledonius
of 1725. It does not occur till the second volume of the edition, 1733.
See note 475.
508. EOW SAFTLY, THOU STEEAM.
The air to which this song is adapted bears the title of " Captain
O'Kaine," and is certainly Irish, but whether it had any words before those
written by Eichard Gall, we are unable to find. Gall's song was published
in a sheet and was called "Captain O'Kaine," under which name the
melody appears in James Aird's Selection of Scotch, English, Irish, and
Foreign Airs, vol. iii. 1788. At that date Gall was only in his twelfth
year, and it must have been several years later when he wrote the verses,
which were probably inspired by the beautiful melody. He died in 1801,
in his twenty-fifth year.
509. AS I WENT O'EE, &c.
This song is also wedded to an Irish air called Peggy Bawn. The
melody is a very pretty one, but we are doubtful of its being old, because
it is not found in any collection of Irish or other airs much anterior to the
Museum. Neither the author of the song, nor the composer of the tune,
has been discovered.
218
EAELY SCOTTISH MELODIES.
510. CHERUB CONTENT.
The melody given to this song is again an ancient Irish one. Its present
name is " The Coolin," but it was known in the beginning of the eighteenth
century as Molly St George. It is a moot point among Irish authorities
who was the composer. Some consider it to be by Carolan, while others
attribute it to Connallon. Many of the Irish people suppose that the tune
is older than either of them.
511. AS WALKING FOETH.
The tune adapted to this song in the Museum, is neither that contained
in the Skene manuscripts, nor in Oswald's Caledonian Pocket Companion,
under the name of " Omnia vincit Amor," and we have failed to find it in
any book anterior to the Museum. The song is in Allan Earn say's Tea-
Table Miscellany under its Latin title, but without a reference to any
tune. Although Stenhouse says " neither of the airs published by Oswald
or Johnson are so old as the words," we are convinced that the song was
not intended to be sung either to the Skene or Oswald's melodies, which
clearly differ from each other. We have no knowledge whatever of the
source from which Johnson derived his tune.
512. THE BATTLE OF HARLAW.
In his Illustrations Stenhouse gives a long account of the battle, and
mentions "a folio manuscript of Scots tunes of considerable antiquity,"
from which he presents us with a pibroch called " Battle of Hardlaw." It
is apparently a bagpipe version of the tune in the Museum, which Johnson
has taken from Daniel Dow's Ancient Scots Tunes [1775], but has altered
the second strain.
The Battle of Habdlaw.
"4 ^^TjT Ff J
'LaLI — **> —
L l 4 F 4 ^' -J+- — B
Battle op Hab a Law.
« ^4 * N N * \ b f\
\M^:^^:[^tz:h^^^t-=^^z^z-^t:' '\ J I
513. BOTHWELL BANK.
This tune is the composition of John Fergus, organist in the English
Chapel, Glasgow, 1789. It is a fine air, but partakes somewhat too much
of the character of psalmody.
THE SCOTS MUSICAL MUSEUM. 219
514. WEE WILLIE GEAY.
In the Museum we are told that the song is " Written for this Work by
R Burns." Stenhouse says, " It is adapted to the lively tune called ' Wee
Totum Fogg,' the first line of a much older ditty of the same description,
which Burns must have had in view when he wrote the words for the
Museum." He also mentions that " These old tunes — Wee Totum Eogg,
The Dusty Miller, Go to Berwick Johnnie, Mount your Baggage, Eobin
Shore in Har'est, Jockey said to Jenny, &c, &c, have been played in Scot-
land time out of mind, as a particular species of the double hornpipe." We
need only remark that all the tunes stated are easily got in old collections,
with the exception of "Totum Fogg," We have never been fortunate
enough to come across it, and thus are left in a " fog."
515. WHEN THE DAYS THEY AEE LANG.
The air to this song is evidently a modern composition, written about
the time of, and probably for the verses. The composer is unknown, but
the author of the song was a Mr Macaulay, an acquaintance of Johnson.
516. THE BANKS OF THE DEE.
This fine song was written in 1775 by John Tait, who for some time
sat as judge in the Police Court, Edinburgh. It is sung to the tune
" Langolee," otherwise called " New Langolee," to distinguish it from an
older melody of that name. It is said to be Irish, but is not contained in
any of their collections till the close of last century. The tune seems to
have been well known in Scotland in 1775, because, in addition to Tait's
song, there are in Wilson's St Cecilia, 1779, two other songs to the air.
The melody is published in James Aird's Selection, vol. i. 1782, but it
previously appeared in Thompson's Country Dances for 1775.
517. SCENES OF WOE AND SCENES OF PLEASUEE.
In the Museum, Johnson prefixed to this song, " Written by E. Burns."
It is now well known that it is not a production of the bard's, though it
would have been worthy of him. The lines were from the pen of Eichard
Gall, and are extremely beautiful. The melody to which the song is
wedded is said by Stenhouse to be the composition of Allan Masterton. If
so, it is a perfect gem, and we think the best he has written.
220 EAELY SCOTTISH MELODIES.
518. GO TO BEEWICK, JOHNNY.
This is an early tune ; whether or not the words first sung to it were the
silly verses used by nurses to divert children, those in the Museum were
written by John Hamilton, the author of the favourite song of " Up in -the
morning early," " Bannocks o' Barley meal," and several others of consider-
able merit. Stenhouse says, " Oswald published the tune with variations,"
but the melody with variations is included in Margaret Sinkler's Musick
Book, 1710, under the title of " Berwick Johny," which proves its existence
in that form before Oswald was born.
519. 'TWAS AT THE SHINING MID-DAY HOUE.
The tune to which the words of this song are adapted is called " The
Maid in the Mill." It is contained in Oswald's Caledonian Pocket Com-
panion, book vii., page 27. The song entitled " Watty and Madge," said
to be written by AU^n Eamsay in imitation of " William and Margaret,"
is published in the fourth volume of the Tea- Table Miscellany.
520. HAVE YOU ANY POTS OE PANS ?
This song is known as "Clout the Caldron," but the tune which
Johnson has given it, with the remark, " See another set of this tune, vol. i.
page 24," is entirely different, and is not the original "Clout the
Caldron." The air now under consideration is a strathspey tune called
" Cameron has got his wife again," which appears in Eobert Bremner's
Scots Eeels or Country Dances, page 4, published in 1757. The writer of
the original verses is unknown, those in the Museum are attributed to Allan
Eamsay, and appear in the Tea-Table Miscellany, near the end of the third
volume.
521. NOW BANK AND BEAR
The really fine melody to which this song is sung, we believe to be a
modern one. The name of " Cassilis Banks " is probably derived from the
recurrence of these words in the verses. We are not aware of the tune
occurring in any collection prior to the Museum. The song was written
by Eichard Gall, a poetic genius, who followed the occupation of printer,
and who died in his twenty-fifth year. It has been erroneously ascribed
to Burns by Allan Cunningham and others.
522. AE DAY A BEAW WOOEE, &c.
We are told by Stenhouse that the tune to which the words of this song
are adapted is " called ' The Queen of the Lothians,' the name of a curims
THE SCOTS MUSICAL MUSEUM. 221
old ballad which is produced in the sixth volume of the Museum, and
inserted after the modern verses of Burns." It is not our intention to dis-
cuss the merits or demerits of the song which came from the pen of the
bard, nor to give our opinion respecting the versions published either by
Thomson or Johnson. We turn our attention to the melody of the " Queen
of the Lothians," sometimes designated " The Lothian Lassie," and its
curious old ballad. Neither the one nor the other can we find in any
collection of tunes or songs prior to the sixth volume of the Museum.
We question the age of either song or melody, and require evidence
beyond Stenhouse's assertion to prove that his statement is not a mere
fiction. Had the melody been old, some musician would have found
a place for it in his collection. It is said Burns never wrote any of
his songs until he was well acquainted with the air, which he usually
indicated ; but so far as we know, he did not refer to any melody when he
gave this song to either Johnson or Thomson, and neither of the versions
of it were published in his lifetime. Thomson printed it first in 1799,
and Johnson in 1804, though his preface is dated June 4th, 1803. We
are of opinion that the melody was unknown till 1799, and that it bears
the stamp of a modern air.
523. GUDEEN TO YOU KIMMEE.
Stenhouse states in his Illustrations : " This comic song was corrected
by Burns, and the words are adapted to the old tune of ' We're a' nid
noddin' in our house at hame.' " We think his statements are at variance
with facts: had either the words or air been old, we may be sure he
would have referred to the source. There are several songs said to have
passed through the hands of Burns, and ascribed to him by some authori-
ties, which must be received with caution, and Stenhouse alleges certain
airs to be old without the least evidence. We have failed to find a copy of
either song or tune before the Museum.
524. IN BKECHIN DID A WABSTEE DWELL.
This song is, we are convinced, one of those silly rhymes which were
common about the end of last and the beginning of this century. The
melody, however, is both pretty and lively, but so far as we are aware does
not appear in any work published prior to the Museum.
525. WILLY'S EAEE, AND WILLY'S EAIE.
Stenhouse says, " This ancient fragment, with its original air, was copied
from Thomson's Orpheus Caledonius, London, 1725," but it was not
published till the second edition, in 1733. The poem given in the Orpheus
222
EARLY SCOTTISH MELODIES.
may be the original, but a more simple and beautiful version of the melody
is contained in the Blaikie and the Leyden manuscripts, 1692, under the
name of " Sweet Willie."
Swdt WniY. 1W2.
ri ^jiJfrffiJjjJiJfffriffffifirrif i ^JJiujJff ^
526. MY DADDY LEFT ME, &c.
This song is merely a humorous inventory of the goods and chattels
bequeathed by a father to his son, winding up with their estimated value.
The words, along with the melody called Willie Winkie's Testament, are
contained in the second volume of the Orpheus Caledonius, 1733, but not
in the first edition of that work, 1725, as stated by Stenhouse. In the pre-
liminary dissertation to Dauney's Ancient Scotish Melodies, page 146, a
tune called " Willie Winkie's dead away " is mentioned as occurring in a
small manuscript which belonged to the late David Laing, probably not
older than the early part of the eighteenth century ; but not having seen
the MS., we are unable to say whether it is or is not the same air. In our
opinion the tune is an old dance one, and it is found in Walsh's Caledonian
Country Dances, book i, entitled '' Willey Winkey," circa 1734.
527. STERN WINTER HAS LEFT US.
Stenhouse informs us, " This ballad was copied from Yair's 'Charmer,' vol.
iL, printed at Edinburgh in 1721." The date is evidently a misprint for
1751, as the first volume appeared only in 1749. Our impression is that
the ballad is English. "The Charmer" is a collection of choice songs,
English and Scots, and the words of the song are pure English.
Stenhouse also says, " The original air, under the title of ' Jockey and
Jenny,' is inserted in the fifth volume of Oswald's ' Caledonian Pocket Com-
panion,' page 31." If it is indeed the original tune, we believe it to be an
English air. The beautiful melody in the Museum is said to be Gaelic,
but we have failed to discover it in any collection of Highland music
published before 1803. We suspect it first occurred in the Museum.
528.
The second tune to the same words is the well known Irish air called
• Kitty TyrelL"
529. AH! MARY, SWEETEST MAID.
The air to which this song is adapted is taken from Cow's Fourth Col-
lection, 1800, It is called " The Maid of Isla," and a footnote states, " I
THE SCOTS MUSICAL MUSEUM. 223
am indebted to Col. and Lady Charlotte Campbell for this beautiful tune."
The song was published about the same date in a single sheet, entitled "The
Lass of Isla," the words by a gentleman who Stenhouse informs us was
Alexander Boswell of Auchinleck, and states, " Mr Nathaniel Gow tells
me it was at his particular request that Mr Boswell furnished him with
the words."
530. ANNA, THY CHAEMS MY BOSOM FIKE.
Eobert Burns is the writer of this song, which was published in 1787.
The melody is a composition by James Oswald, and is printed in his
" Curious Collection of Scots Tunes," 1740, under the title of " Bonny
Mary." It is also included in book i. of "The Caledonian Eocket Com-
panion." Johnson has taken some liberties with this beautiful slow
melody, which is one of Oswald's best productions.
531. THY CHEEK IS 0' THE EOSE'S HUE.
This is another of those elegant songs which were written by Eichard
Gall. It was produced " at the earnest request of Mr Thomas Oliver,
Printer and Publisher, Edinburgh, an intimate acquaintance of the author."
It is probable that both Gall and Oliver were at one time together in the
employment of D. Eamsay of the Edinburgh Courant. Mr Oliver
apparently communicated the melody, which he had heard sung in a
pantomime. It is frequently named "My only Jo and dearie 0."
Dean Christie, in his " Traditional Ballad Airs," observes of a tune called
" Cow the Gowan " : " The fifth and sixth bars of the above are almost the
same as the first two bars of ' My only Joe and Dearie.' " "We, however,
scout the idea of any resemblance in the melodies. Gow in his " Third
Eepository," 1806, under the latter title, has added — " supposed Irish " ;
but we can see no Irish character in the air, and if the line, — " Wi' the
bp'ning gowan wet between," was one heard sung by Oliver, we think it
goes far to overturn Gow's assumption. "We have not found the melody
printed in any collection prior to the Museum.
532. O AY MY WIFE SHE DANG ME.
In the Museum, Johnson says the song was " Written for this work by
Eobert Burns." It is a humorous production, whether original or
suggested by the name of the melody to which it is adapted. The tune
called " My wife she dang me " is contained in the sixth book of Oswald's
" Caledonian Pocket Companion." Stenhouse says, " the old air originally
consisted of one strain, but Oswald made two variations to it," His
224 EAELY SCOTTISH MELODIES.
assertion, however, must be taken for what it is worth, as he adduces no
evidence in support of it. The tune is a lively one, of the Scots Measure
class.
533. COME UNDEE MY PLAIDY.
This song shows the power that riches have over some of the fair sex,
who, when they get an offer of marriage, are unconcerned about the age of
a wealthy suitor. It is an excellent effusion, from the pen of Hector
Macneill, who has written several good songs, some of which are given in
the Museum. The air is " Johnny M'Gill," which has been already noticed
(see No. 207).
534. COME FOLLOW, FOLLOW ME.
The words of this song, and the melody which is adapted to it, are both
English compositions.
535. LOED THOMAS AND FAIB ANNET.
We have no intention of making any remarks on this ballad. The air
to which it is adapted in the Museum is called, " The Old Bard." It was
published by James Oswald in book xh. of the "Caledonian Pocket
Companion," page 10. The tune is a sweet little melody, but is probably
not Scottish.
536. WILLIAM AND MAEGAEET.
This song, though it is called an old ballad by Allan Eamsay in his
" Tea-Table Miscellany," and by William Thomson in the " Orpheus
Caledonius," 1725, was written by D. Malloch, or Mallet, in 1723. In the
Orpheus, Thomson calls it " an old Scotch Ballad with the Original Scotch
Tune." Stenhouse, however, says that it is the " well known tune, ' Chevy
Chase ' " ; but the tune under this lattter name is not found in any Scottish
collection before 1742. Oswald, in his " Curious Collection," 1740, has a
melody entitled, William and Margaret, and in his Collection of Curious
Scots Tunes, 1742, another called, "The old Tune of William and Margaret";
but neither of these two tunes suit the ballad as given by Thomson. In an
edition of the Tea-Table Miscellany, 1734, the ballad is given in the index
under the heading, " New Words by Different Hands,' 1 though above the
words it is called "An Old Ballad." The tune in the Museum is one
adapted to it by Stephen Clarke.
THE SCOTS MUSICAL MUSEUM. 225
537. WHAT AILS THE LASSIE AT ME?
This humorous song, we are informed, was written by Alexander Eoss,
the author of several other good songs. Besides this, two more of his pro-
ductions are contained in the Museum. It was first printed in the author's
works at Aberdeen in 1768, and directed to be sung to the tune of " An the
Kirk wad let me be." Johnson, however, has supplied another lively melody,
which is not found in any earlier Scottish collection. In our opinion it is
probably an Irish air.
538. THE SUN IN THE WEST.
This is another of Eichard Gall's lyrics, written in the pathetic style.
Stenhouse says, "The beautiful air to which the words are adapted is
supposed to be of Gaelic origin." We are inclined to think it rather an
imitation of a Highland melody, drawn considerably from the old tune of
" Bonnie Dundee " ; at any rate, it bears a strong resemblance to that tune.
539. SCEOGGAM.
In the Museum this song is said to be written by Eobert Burns. Sten-
house says, " This humorous and eccentric song, beginning " There was a
wife wonn'd in Cockpen," was written by Burns for the Museum. There
is another and a very old song to the same air, but it is quite inadmissible."
Scott Douglas merely mentions, " This singular song has Burns's name
attached to it in the Museum. We place it here in consequence of its
connection with the preceding song, so far as locality is concerned," &c.
The authorship is thus involved in doubt, and Stenhouse adds to the un-
certainty by withholding the name of the inadmissible song, and giving no
clue to the previous history of the air.
540. TELL ME MY BONNY, &c.
This is one of Hector Macneill's love songs, in which he makes the " dear
lassie," in order to try her lover's affections, assert that he has broken his
vow, and that his motive was simply to possess her tocher. The tune is
an excellent one, which Macneill is said to have picked up in Argyleshire.
In character it smells strongly of the heather.
541. MAEY TUEN AWA.
This, and the following song, are two excellent effusions of the Muse.
The first was written by Eichard Gall, and the second, beginning " What
p
226 EARLY SCOTTISH MELODIES.
ails this heart of mine?" is from the pen of Miss Blamire of Carlisle. They
are both adapted to the old melody of " My Dearie, if thou die," which we
have already noticed. See No. 82, page 83.
542. GUDE ALE COMES, &c.
In the Illustrations Stenhouse says, " This humorous drinking song, with
the exception of the chorus, which is old, was written by Burns." Scott
Douglas states, " The bulk of this song is by Burns, although a line here
and there belongs to an older strain of even less delicacy." The air adapted
to the words is " The Bottom of the Punch Bowl," a tune belonging to
the first half of last century. It is included in Oswald's " Collection of
Curious Scots Tunes," 1742.
543 ROBIN SHURE IN HAIR'ST.
Stenhouse says, " The tune and title of this song are ancient, but the
rest is by Burns. In Oswald's ' Caledonian Pocket Companion,' book v.
page 11, the air, with variations, is inserted under the title of 'Robin
Shear'd in Her'st,' but the old words of the song are probably lost. The
tune, in some modern collections, is called ' Bobbing John,' but erroneously,
for that is the name of a very old English air printed in Playford's Dancing
Master, in the time of f or six quavers in the bar, so far back as 1657,
and in all the subsequent editions of that work. It is quite different
from the Scottish air." The above note is very far wrong. Should the
reader turn to Oswald he will find a different air, called " Rob shear'd in
Her'st." The tune in the Museum is assuredly named "Bobbin John"
in some collections, and " Bob and Joan " in others, but the name of the
very old English air in the Dancing Master is not " Bobbing John " but
" Bobbing Joe." It was printed in 1651, and is quite different from the
one under review. The tune Johnson gives is popularly known as " Bob
and Joan " and " Bobbin John," and is at the present date sung to a song
called "Ta Phairson." The melody, however, occurs in "Walsh's Cale-
donian Country Dances," book iii., as " The Key of the Cellar." The tune
given by Oswald, and later by Bremner, is also found in '' "Walsh's Cale-
donian Country Dances," book ii., as "Rob shear in Harvest," but in
common instead of 4 measure.
544. WHA WADNA BE IN LOVE, &c.
This tune is " Maggie Lauder." See English and other claims, page 49.
THE SCOTS MUSICAL MUSEUM. 227
545. A COGIE OF ALE, AND A PICKLE AIT MEAL.
This song was written by Andrew Sheriffs, A.M., the author of " Jamie
and Bess," a pastoral comedy in the style of " The Gentle Shepherd," in
1797. The melody attached to the song was composed by Eobert
Mackintosh, familiarly known as Eed Kob, a prominent musician in
Edinburgh, who left that city about 1802 and settled in London, where he
died a few years later.
546. THE DUMFEIES VOLUNTEEES.
This song was written by Burns, and sent to Johnson for the Museum.
Stenhouse says, " The charming tune to which the words are adapted, was
composed by Stephen Clarke, organist." It is a good martial air, somewhat
in the style of Hearts of Oak.
547. HE'S DEAE DEAE TO ME, &c.
It appears from the Illustrations that Mr Stenhouse was delighted with
this song, for he says, " This sweet little pastoral made its appearance about
the year 1796, as a single sheet song, written by a gentleman." We do not
wonder that he was unable to discover the name of the author ; the lines
are so feeble that the writer probably did not wish to own them. Sten-
house's admiration for the " pretty melody, which belongs to the ancient
class of one strain," seems ridiculous.. In our opinion it is a poor mongrel
tune, not older than the words.
548. THE BLUE BELLS OF SCOTLAND.
This song is said to be a parody on one of the same name, sung by Mrs
Jordan, to which she composed the music. Both are puerile productions.
The air in the Museum has no Scottish character, nor is Mrs Jordan's
better in that respect, though hers is a good melody which has become
somewhat naturalised. Both, however, are English tunes of the end of the
eighteenth century.
549. COLIN CLOUT.
This song is described by Stenhouse as a fragment, which was com-
municated by Mr Gall to Johnson. The author is unknown. The melody
to which the words are adapted is a fine one, composed by Stephen
Clarke ; but we cannot say it is in the Scottish style.
228 EAELY SCOTTISH MELODIES.
550. 'TIS NAE VEEY LANG SINSYNE.
The tune to which the words of this song have been adapted, is erroneously
called by Stenhouse, "We'll kick the world before us." The air, however,
appears in book xii. of Oswald's Caledonian Pocket Companion, page 4,
under the title of "We'll kiss the world before us." It consists of six
strains, and the song is sung to the first and fourth. Stenhouse seems to
have confounded the name of this tune with that of " Kick the world before
you," contained in the Caledonian Pocket Companion, book x., page 15.
The song is taken from Herd's Ancient and Modern Scottish Songs, 1776.
551. ONCE I LOV'D.
This song is said to be Eobert Burns's first attempt at lyric, and he
directed it to be sung to a reel tune, a favourite of his heroine, called, " I am
a man unmarried." Stenhouse tells us, so the story goes, that Burns
abandoned the idea of using this tune, " and had it set to the beautiful
slow melody in the Museum, which he picked up and transmitted to the
publishers of that work ; it is said to be very ancient." We are afraid
Stenhouse's story cannot be trusted. Why was the song, with its beautiful
melody, not published before the death of the poet and of Stephen Clarke ?
It may be remarked that the sixth volume of the " Scots Musical Museum "
did not appear till March 1804, though its preface is dated 4th June
1803. We have failed to find any tune whatever bearing the name of " I
am a man unmarried." It might have been a local name for some well-
known reel, which cannot now be discovered The supposed ancient air
given in the Museum is, we are disposed to think, from the style of its con-
cluding cadence, composed for that work by some precentor.
552. WHEN I THINK ON MY LAD.
This song was written by Allan Kamsay. Stenhouse tells us, " Eamsay
published it in his Tea-Table Miscellany under the title of ' Her Daddy
forbad, her Minny forbad,' in 1724." This is another of his mistakes,
it did not appear in that year. Eamsay named his song " My Dady forbad,
and my Minny forbad," and made no reference to any air. The tune adapted
to the words in the Museum is an English melody composed by Jeremiah
Clarke, a musician who lived at the end of the seventeenth and commence-
ment of the eighteenth centuries. It is contained in Oswald's " Cale-
donian Pocket Companion," book x., page 1, called "Hark, the cock
crow'd."*
* We possess a copy of " The Tea-Table Miscellany, or a Collection of Scotch Sangs. The
Tenth Edition. Being the Whole that are contain'd in the Three Volumes just Published. By
THE SCOTS MUSICAL MUSEUM. 229
553. EETUEN HAMEWAED.
This song, though Stenhouse says it is in the Tea-Table Miscellany, 1724,
does not appear before the end of the third volume in the edition of 1734,
mentioned in the previous note. It bears the name of " Pint a crum of
thee she faws " in the Miscellany, and has the letter Z attached to it, but
no tune is mentioned. The tune in the Museum, however, is contained
in " Aird's Selection of Scotch, English, Irish, and Foreign Airs," 1782, as
" The Spinning Wheel," and that song is included in the second volume
of the Tea-Table Miscellany. We know of no tune in any collection prior
to the Museum entitled 'Tint a crum of thee she faws." Oswald's
" Spinning Wheel " is not the same air. Since writing the above we have
discovered the melody, entitled " A Scotch Tune," in a London publication
of 1729.
554. MY LADY'S GOWN THEEE'S GAIES UPON 'T.
This is another song having prefixed to it in the Museum, " Written for
this work by Eobert Burns." It may be his, but we hesitate to believe
that Johnson retained in his possession sixteen songs written by Burns till
he published his sixth volume, seven years after the bard's death. The air
to which the words are adapted is a strathspey believed to be the com-
position of James Greig, a teacher of dancing in Ayrshire. It is much in
the style of Greig's Pipes, a tune named after the same composer.
555. MAY MOENING.
This song of " May Morning " is a mere trifle, which was anonymously
given to Johnson. Stenhouse says, " It is adapted to an old strathspey
tune which is very pretty," but his opinions anent dance music seem to us
of little value. What its name is or where he found it, we know not ;
but the second strain somewhat reminds us of "My love she's but a
lassie yet."
Allan Ramsay. Dublin, 1734." We find the last ten songs in the third volume are taken
from it, and along with them five other songs, not previously published by Ramsay, have been
addedto the first volume of 1724 in the collected edition, 1740. The names ofthe songs are : "To
L. M. M." beginning " Mary ! thy graces and glances " ; " This is no mine ain House " ;
" Fint a Crum of thee she faws " ; " To Mris E. C," commencing " Now Phoebus advances
on high " ; "My Dady forbad, and my Minny forbad " ; " Steer her up, and had her gaun ; "
" Clout the Caldron ; " " The Malt-Man " ; " Bonny Bessie " ; " Omnia vincit amor " ; " The
auld Wife beyoht the Fire " ; " I'll never love thee more " ; " The Black Bird " ; " Take your
Auld Cloak about you " ; and " The Quadruple Alliance."
230 EAELY SCOTTISH MELODIES.
556. DINNA THINK BONIE LASSIE I'M GAUN TO LEAVE YOU.
In the Illustrations Stenhouse says, " Hector Macneill, Esq., informed the
editor that he wrote the whole of this song except the last verse, which the
late Mr John Hamilton, musicseller in Edinburgh, took the liberty to add
to it, and to publish as a sheet song. " It was on this account (Mr Macneill
added) that I did not include this song in the collecting my poetical
works for the uniform edition in two volumes., which has been given to
the public." For a similar reason he omitted another song, likewise written
by him, beginning " My love's in Germany." Taking this story for granted,
Macneill's action was absurd; he could have omitted Hamilton's verse, the
addition to the song harmed nobody. Burns and many other poets have
done the like to several songs, and it is not alleged that Hamilton altered
or mangled any of Macneill's verses. If Stenhouse had said that Clunie's
Eeel (taken from Cumming of Granton's Keels and Strathspeys), is adapted
to the song instead of the song to it, he would have been very much nearer
the mark. The same tune is found in Bobert Bremner's Beels called
" Carrick's Beel," twenty years before A. Cumming's collection.
557. GIN I WERE FAIRLY SHOT 0' HER.
Stenhouse in his Illustrations states, "This old song received some
additions and corrections from the pen of Mr John Anderson, engraver of
music in Edinburgh, who served his apprenticeship with Johnson the pub-
lisher. The air, under the title of ' Fairlie Shot of Her,' appears in Mrs
Crocket's Manuscript Music- Book, so that the tune is very old. It is also
preserved in Oswald's ' Caledonian Pocket Companion,' and various other
collections." "We are left in entire ignorance as to these additions and
corrections. The original words of the song, however, were probably
Irish, as we suspect was also the melody, although we are able to trace it
as far as Walsh's Caledonian Country Dances, book i., circa 1734, and in
" Aria di Camera."
558. HEY MY KITTEN MY KITTEN.
In the Illustrations we are informed, " This humorous nursery song was
written about the beginning of last century by the celebrated Dean Swift.
The words are adapted to the old Scottish air, called ' Whip her below the
Gouring,' which is inserted in the ' Crockat Manuscript,' and was printed in
the 'Dancing Master' by Playford, under the name of 'Yellow Stockings,'
in 1657. This tune has been a great favourite time out of mind, in both
kingdoms." Whether the tune appears in the Crockat MS. under any
name whatever, we are unable to say, but it is certainly not found in any
THE SCOTS MUSICAL MUSEUM. 231
of Playford's Dancing Masters as " Yellow Stockings," nor is it either " Mad
Moll " or " The Virgin Queen," as given in Chappell's " Music of the Olden
Time." It may nevertheless be a Scottish jig, entitled " Yellow Stockings,"
though we have failed to discover it. The song is printed in the fourth
volume of the Tea-Table Miscellany, as " The Nurse's Song," tune " Yellow
Stockings."
559. SWEETEST MAY.
This song is headed in our copy of the Museum, " Written for this work
by Eobert Burns." Was it so in the first edition of the sixth volume, or
was it afterwards interpolated ? It is a mere plagiarism of the first verse
of " There's my thumb I'll ne'er beguile thee," from the first volume of
the Tea-Table Miscellany, 1724. Stenhouse says, " This petit morceau,
words and music, was communicated by Burns." We have our suspicions
about the music, because we think that the air was probably unknown to
Burns, and that it first appeared under the appellation of " Kinloch " in
John Watlen's " Second Collection of Circus Tunes," 1798. It is now well
known as Kinloch of Kinloch.
560. AEGYLE IS MY NAME.
It is of little consequence who was the author of this song, which appears
in Herd's Collection, 1776, beginning "My name is Argyll." Stenhouse
thinks the melody of Gaelic origin. G. F. Graham considers it to be Irish,
or in imitation of an Irish air, though not found in any Irish collection, nor
yet claimed for that country. We hold to Stenhouse's opinion, and think
it a modern Highland tune, of which those in f measure sometimes have
Irish traits.
561. AN I'LL AWA' TO BONNY TWEED-SIDE.
Ramsay published this song in the Tea-Table Miscellany, volume ii., and
directed it to be sung to the tune of "We'll a' to Kelso go." This air
appears in Oswald's Caledonian Pocket Companion, book vi., but it is only
a slightly altered version of " The Geud man of Ballangigh," a " new Scotch
jig," found in Playford's Dancing Master, 1696.
562. GENTLY BLAW, &c.
This song is said to have been written by John Anderson, the music
engraver, who for a short time after Johnson's death carried on the busi-
ness for his widow. The tune to which the words are sung is called "
gin my love were but a rose," but we cannot find the air under this name
232 EAELY SCOTTISH MELODIES.
before the Museum. There is, however, a version of the same melody
entitled " Under her apron," in the Macfarlan MS. supposed to have been
written 1740.
563. IN YON GABDEN, &c
Stenhouse says he was informed by Mr Anderson, the author of the
previous song, "that the words and music of this were taken down from the
singing of Mr Charles Johnson, father of Mr James Johnson, the publisher
of the Museum. We are not aware that the air appeared in any collection
prior to the Museum. It is contained in John Hamilton's Caledonian
Museum a few years later, under the same title, with four bars of the music
repeated for the two last lines of each verse.
564. THE POOE PEDLAE.
"We consider that neither the words nor the air of this song are worthy
of notice, whatever their nationality. The song contains a strain of double
entendre, and the melody is of no merit.
565. YOU ASK ME CHAEMING FAIE.
This very elegant song was written by William Hamilton of Bangour.
It probably had no air attached to it before the one printed in the Museum.
Stenhouse says, "The composer of the charming melody, to which the
verses are united, has hitherto escaped the researches of the editor." We
think the adjective in this instance superfluous; the composer was pro-
bably the same who produced the air for No. 551.
566. KEN YE WHAT MEG 0' THE MILL HAS GOTTEN?
In the Museum, we find following the title of the song, " Written for
this work by Eobert Burns." Whether the poet wrote this song, or, accord-
ing to Stenhouse, simply retouched it in 1788, it seems strange that it was
not published till nearly eight years after his death. In a letter to George
Thomson in 1793 Burns says, "Do you know a fine air called Jackie
Hume's Lament ? I have a song of considerable merit to that air." The
verses sent to Thomson are entirely different, but we are not sure that he
published them. " Jackie Hume's Lament " we have failed to find in any
collection of tunes issued prior to the Museum.
THE SCOTS MUSICAL MUSEUM. 233
567. HOW SWEET IS THE SCENE.
This song is another fine effusion of Eichard Gall. It is wedded to an
old Irish melody called " The Humours of Glen," which is frequently found
in Scottish collections, and was published with variations by Niel Stewart
in 1772.
568. SUEE MY JEAN
This is another song of which Eichard Gall is the author. Stenhouse
says, " The words are adapted to a very pretty modern air, which was com-
municated by Mr Gall himself." It is probably an Irish tune.
569. HOW SWEET THE LONE VALE.
This song, according to Stenhouse, was written by Andrew Erskine,
brother of Thomas the musical Earl of Kelly. Burns, in a letter to George
Thomson of April 1793, says, " Mr Erskine's songs are all pretty, but his
' Lone Vale ' is divine." Burns, however, condemns Erskine's reference to
the nightingale in a Scottish song. The air to which the verses are adapted
is called " Lord Bradalbane's March or Boddich n'am Brigis," and was first
published in Daniel Dow's Ancient Scots Tunes, circa 1775.
570. JOCKEY'S TA'EN THE PASTING KISS.
We find " Written for this work by Eobert Burns " after the title of the
song in the Museum. The melody adapted to the words is an old tune
called " Bonny Lassie tak a man." It is one of the airs contained in
Mitchell's " Highland Fair," a Scots opera, 1731, and it is also included in
Oswald's " Caledonian Pocket Companion," book xi p. 18. Whether there
was an old song bearing the name of the tune, or the title was simply given
to a Scots measure, we have not been able to discover, but Johnson has
spoiled the music.
571. WHAT'S THAT TO YOU?
This is an Anglo-Scottish song written by D'Urfey, somewhat modified
by Allan Eamsay, who directed it to be sung to the tune of " The Glancing
of her apron." The melody appears to be a modern Scottish production of
a lively character, probably a composition of Eobert Mackintosh, and first
published in the Museum.
234 EAELY SCOTTISH MELODIES.
572. LITTLE WAT YE WHA'S COMING.
In the Illustrations Stenhouse says, " This Jacobite ballad was written
about the time of the Eebellion in 1715. Its old title was The Chevaliers
Muster-Boll, 1715. The author, of course, is anonymous." We are unable
to say whether these statements are correct, but we rather think it is to
James Hogg we are indebted for the title of The Chevalier's Muster-Eoll.
Stenhouse adds, "The old tune to which the words are adapted was
formerly called ' Fiddle Strings are dear Laddie/ from the first line of an
ancient though almost now forgotten song." In recent collections it goes
under the name of " Tail Toddle." We have not found the tune under
the appellation "Fiddle Strings are dear Laddie," but in Walsh's Cale-
donian Country Dances it bears the name of " Fiddle Faddle." In Margaret
Sinkler's Musick Book, 1710, there is another version of the tune without
name.
573. LEAVE NOVELS, &c.
This song was written by Burns, and intended in a humorous way to give
wholesome advice to the ladies of Mauchline. The tune to which the words
are wedded is a spirited one of the Scots measure ^lass. Stenhouse calls it
"a favourite Scots measure or daneing tune. 1 ' Burns, so far as we know,
did irot direct the song to be sung to any air, and we are not aware of
this favourite Scots measure having seen the light before its insertion in
the Museum. It is an excellent example of a Scottish melody falling
one tone to the key immediately below, and rising again to the original
key, which cannot be treated as a flat-seventh in the major mode. It
is also minus the sixth of the key throughout, no A note occurring in the
tune.
574 LAY THY LOOF IN MINE, LASS.
This song is one which Burns wrote for the Museum. The air to which
the words are adapted is called "The Cordwainer's March," which was
played by the band that headed the procession of that ancient craft, i.e.
shoemakers, on the occasion of their celebrating St Crispin's day, the patron
saint of the brotherhood. This is another remarkable tune, which in the
first strain begins in the minor and ends in the major key, and in the second
strain commences in the major and finishes in the minor key. The melody
is included in Aird's Selection of Scotch, English, Irish, and Foreign Airs
vol. i. 1782.
THE SCOTS MUSICAL MUSEUM. 235
575. SAW YE THE THANE 0' MEIKLE PEIDE?
This song is a production of Henry Mackenzie, the author of " The Man
of Feeling," when a lad of seventeen. The words had no tune adapted to
them till they found a place in the Museum. The melody is a sweet and
plaintive one ; its composer's name is unknown.
576. GO PLAINTIVE SOUNDS.
The words of this song were from the pen of William Hamilton of
Bangour. It was published to music composed by William Shield-; but the
air attached to it in the Museum is a modern Scottish one, which we have
failed to trace to an earlier date. It seems to be the composition of the
same person who contributed the tunes Nos. 551, 565, 570, in Johnson's
sixth volume.
577. BEUCE'S ADDEESS TO HIS AEMY.
This well-known song, " Scots wha hae," was written by Burns. The
air to which it is sung was formerly called " Hey tuttie tattie," and it was
supposed to be as old as the Battle of Bannockburn. It would be pre-
sumptuous to attempt to confirm the tradition, but we may say that Eitson's
assertion, that the Scots in 1314 had no musical instruments capable of
playing the tune, is assuredly an error. David II., son of the Bruce, had
pipers thirty years after the battle, and it is probable that his father also
had them. Whatever the age of the melody, its earliest appearance in
print is in Oswald's Caledonian Pocket Companion, book iii., page 13, circa
1747. It is also found in William M'Gibbon's Third Collection of Scots
Tunes, 1755. The tune is a common bagpipe air.
578. FAEEWELL YE FIELDS, Etc.
This song was written by John Hamilton, musicseller, Edinburgh. He
was the author of many other ballads, one of which is the popular version
of " Up in the morning early." The tune to which this song is united
was composed by Isaac Cooper of Banff, a teacher of music and dancing in
that town. Cooper published two collections of dance tunes and a number
of fugitive pieces at the end of last and beginning of the present century.
The melody is called Miss Forbes's Farewell to Banff. It is an excellent
tune, but Johnson's editor has taken some liberties with it.
236 EARLY SCOTTISH MELODIES.
579. HEAED YE E'EE OF A SILLY BLIND HAEPEE.
The words of this song, as well as the air, seem to be of Border origin,
and of a class which probably wiled away the long winter nights at the
fireside of many a farmer. The melody possesses little or no merit, but
suits well enough a ballad of twenty-one verses.
580. MY NANNIE 0.
The words of this excellent song were written by Burns, and published
in the edition of his Poems, 1787. The poet directed the song to be sung
to the old melody " My Nanny 0." Johnson, however, had already pub-
lished that air to other verses, and he substituted a melody composed by
Thomas Ebdon of Durham. It is a fine air, in the style of a Scottish
quickstep, or hornpipe, but not in accordance with the spirit of the words,
it is of a too lively description. The song is now sung to the ancient
melody.
581. AS I LAY ON MY BED ON A NIGHT.
" This fragment of an ancient ballad, with its melody, was recovered by
Burns, and transmitted to Johnson for the Museum," — Illustrations. "We
suspect the statement to be one of Stenhouse's inventions ; even the un-
scrupulous Allan Cunningham did not insert it in his edition of Burns's
"Works. The melody we believe to be ancient, though the song in "Wedder-
burne's " Ane compendious Booke of Godly and Spirituall Songs" has not
any tune printed to it, at anyrate in D. Laing's reprint of the work. "We
have evidence that Wedderburne's songs were known in England in the
reign of Elizabeth, as John Dowland composed a melody for " Go from my
window, goe." His tune, however, is not that printed in the Museum, nor
the more ancient set given in the Illustrations. Stenhousehas omitted
to state the source from which he obtained it, and we have not discovered
any early copy of the tune.
582. THE EAIN EINS DOWN, Etc.
It is questionable whether the wortls or the air of this song have the
antiquity assigned to them. No doubt the verses refer to a time when
the population, through ignorance and superstition, encouraged and fed by
the monks, believed in such tales, and without the least evidence made
them a pretext for robbing and killing unfortunate and unoffending Jews,
who were accused of murdering Christian children. According to Sten-
house, the ballad in the Museum is Scottish, and was received by Bishop
THE SCOTS MUSICAL MUSEUM. 237
Percy from Scotland, and published by him in 1765. "We get no account
whatever of the melody, and we are doubtful if it ever appeared in any
collection prior to the Museum. We consider it to be of the mongrel
species, compounded from " The Mason's Anthem, Merrily danced the
Quaker," &c.
583. CAULD IS THE E'ENIN' BLAST.
" This short song was written by Burns for the Museum. It is adapted
to the old Scottish ah- called 'Peggy Eamsay,' which in several bars
resembles the tune of ' O'er Bogie,' — Illustrations. "We fail to see the like-
ness which Stenhouse refers to, but had he said that the tune has a con-
siderable resemblance to the first strain of the reel called "The Mason
Laddie," or " The Mason's Apron," he would have been nearer the mark.
"We have not found the air before the Museum, but in the Rowallan
Manuscript there is one called "Maggie Eamsay," a version of which
Chappell has given in his " Popular Music of the Olden Time " as an
English tune. See English Claims, page 28.
584. TURN AWAY THOSE CEUEL EYES.
The author of this song is unknown. Stenhouse says, "this song is
adapted to an old air called ' Be Lordly Lassie,' " but he has not given the
least evidence in support of his assertion. We do not believe it to be
Scottish ; its characteristics are those of an Irish tune.
585. MARY YE'S BE CLAD IN SILK.
This is a new melody written to a slightly altered version of the " Siller
Crown," No. 240. It was composed by a Miss Grace Corbett when only
eleven years of age, and first appeared in Urbani's Selection of Scots Songs,
book ii., page 34, 1794, from whence it was taken for the Museum.
586. THERE WAS A BONIE LASS.
This song, we are informed, was written by Burns. Stenhouse says,
"the words are adapted to the tune of a favourite slow march," but
he mentions neither the name of the march nor the source from which it
is derived. As a march tune it is a very feeble composition, and we have
not found it elsewhere.
238 EARLY SCOTTISH MELODIES.
587. NO CHURCHMAN AM I.
This is another song from the pen of Robert Burns. The tune to which
it has been adapted is called " The Lazy Mist," but is somewhat altered in
the second strain. It is contained in Oswald's Caledonian Pocket Com-
panion, book xii., page 20. We are quite convinced that it is an Irish
melody.
588. THE HIGHLANDER'S LAMENT.
In the Illustrations we are told, " This song is a fragment of a larger
poem, supposed to have been written by an anonymous hand after the
battle of Culloden, in 1746. The tune is said to be a Gaelic melody." In
the Rev. Patrick M'Donald's Collection of Highland Vocal Airs, etc., 1784,
it is inserted as an Irish air, the only example he gives of an Irish melody
in his work. Gow, in his Fourth Collection, 1800, on page 11, calls it
" ' Cairngoram Mountain,' a very old Gaelic air." We may state that
the sets are nearly identical, but Johnson has copied from Gow.
589. THERE'S NEWS, LASSES, NEWS.
In the Museum we find, " Written for this work by Robert Burns."
Stenhouse, however, states, " This humorous song was retouched by Burns
from a very ancient one called ' I winna gang to my bed until I get a man.'
It is adapted to the lively old original air, which may be considered one of
the earliest specimens of Scottish Reels. It appears in Skene's MSS.,
circa 1570, under the title of I winna gang to my Bed till I sud die."
Stenhouse draws erroneous conclusions both as to the age and contents
of the Skene MSS. The tune called " I will not goe to my bed till I suld
die," is entirely different from that in the Museum. It was published in a
small collection of Reels by Aird, and is found on page 5 of the first
number. The first strain is nearly " There's nae luck about the House."
590. HARD IS THE FATE OF HIM WHO LOVES.
This beautiful song is from the pen of James Thomson, the author of
" The Seasons." We suspect it had no air previous to its appearing in
the Museum. The melody is an excellent one; really Scottish in
character, but seemingly modern. Its composer, who is unknown, has
been somewhat indebted to the tune of "The Spinning Wheel," See
" Return Hameward," No. 553.
THE SCOTS MUSICAL MUSEUM. 239
591. YE MUSES NINE, LEND YOUE AID.
In his note, Stenhouse says, " This song, entitled The Highland King,
made its first appearance soon after the publication of the 'Highland
Queen,' by Mr Macvicar, to which it was intended for an answer, — vide
song No. 1, vol. 1 of the, Museum. It was printed as a sheet song, and did
not appear in any regular collection until the publication of Wilson's
' St Cecilia ' at Edinburgh in 1779. The author of this song, as well as
the composer of the melody, have hitherto escaped the Editor's researches."
It is doubtful whether Wilson's was the first collection in which the song
appeared. It is found in the second edition of the Scots Nightingale, 1779,
and probably occurs in the first edition of 1778, which, however we have
not seen. The tune is taken from Oswald's Caledonian Pocket Companion
book xi., circa 1760, page 20, entitled " Highland King." It is a beautiful
melody.
592. NELLY'S DEEAM.
This song was written by John Hamilton, musicseller in Edinburgh,
who died in 1814. He probably composed the pretty air to which the
words are adapted, for he was a musician as well as poet.
593. THAT I HAD NE'EE BEEN MAEEIED.
Johnson says this song was corrected by Burns, who added the second
verse. Stenhouse tells us, the Bard likewise " communicated the beautiful
old air to which it is united." We are inclined to doubt the statement
about the beautiful old air, as we find no evidence of its existence in any
form prior to the Museum.
594. GIN MY LOVE WEEE YON EED EOSE.
This fragment is taken from the second volume of Herd's Collection,
1776. The author unknown. The tune Johnson has printed to the song
in the Museum is one which Gow published in his Fourth Collection of
Eeels, etc., 1800, entitled " Lord Balgonie's Favourite," and he calls it " a
very old Highland tune." It had previously appeared in Daniel M'Laren's
Collection of Strathspeys, Eeels, etc., 1794, as " Mr Nairne's Strathspey,"
to which collection Gow was a subscriber for two copies. In 1816 it was
printed, along with other airs, by Alexander Campbell, author of " Albyn's
Anthology," and in that work Campbell asserts that he composed it in 1783
and published either in 1791 or 1792, inscribed to the Eev. Mr Patrick
M'Donald of Kihnore; Stenhouse in his note says, " The writer of this
240 EARLY SCOTTISH MELODIES.
article has made a diligent search for this production (Campbell's sheet),
but has met. with no copy to decide the question between Messrs Gow and
Campbell." Stenhouse, however, tries to support Gow, from whom he
doubtless obtained much false information, but we have in our possession a
copy of the sheet Stenhouse could not find, and it entirely corroborates
Campbell's claim. We add the following extract from George Thomson's
Select Collection of Original Scottish Airs, 1818, vol. v., page 215,—" This
melody . . . made its first appearance in Gow's Collection of Strathspeys
and Reels some twenty years ago, and has since been published by dif-
erent persons, both with and without verses. Mr Gow tells the Editor that
he got it from Mr Dalrymple of Orangefield, who had it from a gentleman
from one of the Western Isles, as a very old Highland production, and as
such the Editor sent it to Beethoven. But how uncertain is the history
of melodies ! It has very lately been published in Albyn's Anthology as a
composition of the Editor of that Collection." This story to Thomson is
nothing more than an attempt to cover the fraud committed by Nathaniel
Gow. The air is now well known as " Gloomy Winter's now awa," from
Tannahill's beautiful song, to which it has been most happily adapted.
595. NAE LUCK ABOUT THE HOUSE, WHEN OUR GOOD
WIFE'S AWA.
This song contains some humour, but it is of a vulgar description. The
tune to which it is adapted bears no relation to that which has gudeman
in its title instead of goodwife. It is a modern melody, not found in any
work earlier than the Museum. Stenhouse says, " Johnson inserted this
sprightly modern tune for the sake of variety."
596. LIV'D ANCE TWA LOVERS IN YON DALE.
This old ballad was printed in Herd's Collection, 1776, entitled " Willie
and Annet." The tune united to the song in the Museum is taken from
Sibbald's Vocal Magazine, and, it is said, was furnished for that work by a
lady in Orkney. In Ritson's Scotish Songs, 1794, the words are printed ;
but he gives no tune.
597. MALLY'S MEEK, MALLY'S SWEET.
Burns wrote this song for the Museum. He is also said to have given
Johnson the air to which it is joined. Stenhouse remarks, " it is evidently
borrowed from the fine old Lowland melody of 'Andro and his Cutty
Gun.'" On comparing the two tunes we cannot endorse his opinion;
though the rhythm is somewhat similar. The tune was published pro-
bably about fifteen years before the sixth volume of the Museum, with the
strange title of " Devil fly o'er the water wi' her," in No. 2 of J. Aird's Reels.
THE SCOTS MUSICAL MUSEUM. 241
598. TELL ME, JESSY, TELL ME WHY.
This song is from the pen of John Hamilton the musicseller, whom we
have already mentioned in our note to song No. 592. The modern air has
evidently been indebted to " Corn Riggs," which it resembles very much.
Its composer is unknown.
599. I CARE NA FOE YOUR EEN SAE BLUE.
Hamilton is also the writer of this excellent song, which is wedded
to a pretty melody. "We are not aware of its appearance in any earlier
collection, but it was probably published by Hamilton in sheet form. The
composer of the air is unknown. Stenhouse says Johnson received per-
mission from Mr Hamilton to include this and the previous song in the
Museum.
600. GOOD NIGHT, AND JOY BE WT YOU A*.
This song, with which Johnson concludes the Museum, was written by
Robert Burns. The tune, Stenhouse says, " has time out of mind been
played at the breaking up of convivial parties in Scotland." It has
been employed by many compilers and publishers as the last tune of their
collections. The antiquity of the air is undoubted. It is included in the
Skene Manuscript, under the title of "Good night, and God be with
you," and we consider its nationality proved by its appearance under
the same title in Henry Playf ord's " Original Scotch Tunes (Full of the
Highland Humours) for the Violin; Being the first of this kind yet
printed," etc., 1700. This work was published in London by the son of
John Playford.
CHRONOLOGICAL LIST OF "HIGHLAND LADDIES."
The first tune called " Highland Ladie " is from the Leyden MS. 1692.
It is not referred to in any of our notes, but a version of it (the earliest in
print) appears in Henry Playf ord's " Original Scotch Tunes," 1700, entitled
" The Lord of Cockpen's Scotch Measure," and it occurs again in Margaret
Sinkler's MS. book, 1710, as " Helen Home's Scots Measure."
"New Hilland Ladie" is found in the Blaikie MS., 1692. It appears as
"Cockle Shells" in Playford's "Dancing Master," 1701, and as "High-
land Ladie " in Margaret Sinkler's MS. 1710. These are different versions
of the same melody. The tune called " The Lass of Livingston, No. 17
Q
242
EAELY SCOTTISH MELODIES.
1692.
, HlLAND LaDIE.
I Iff time,
u.%fJ3ijj^ijjjUjjjifjjfiffl:HJi^ijy i
, jjiw Hillahd Ladii. 1692.
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rg f rr ii ^riJ if jjp ij jjjj i ^ i ^rcr i fjjjjijjjji
p
Cockle Shells.
1701,
■fr i rrttfrif^if^j i iJ-ffif^ujjjiJjji
tfrfa. »»frfr,.P||..| I fl l .r.1 If Iff ft
rm rffimrr
? . * f#f»
f
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HIGHLAND LADIE.
ten
4 4 J ' — #-*
1710.
i
«j3U J rHtfi[j^ir^ J if J j3P- J f^iii^
o ^ i-g
r a in[Crtif t cCf i r .iJii r Ji t ff rrrrfr | ^ L ffr | f J JJ |jj |
The Highland Laddie,
The Black Highland Laddie.
in the "Scots Musical Museum," which has been copied from "The
Musick for the Scots Songs in the Tea-Table Miscellany," circa 1726,
is merely another version of Sihkler's "Highland Ladie," 1710.
CHRONOLOGICAL LIST OF " HIGHLAND LADDIES." 243
No. 21 in the Museum is a version of " The Highland Laddie " taken
from Oswald's " Curious Scots Tunes/' 1742. Other settings, which differ
slightly from one another, appear in " The Orpheus Caledonius," 1725, and
in "Watts's " Musical Miscellany," 1729.
The next tune is a version of the melody " Highland Laddie," which
appears as No. 468 in the Museum. In Oswald's " Curious Scots Tunes,"
it follows the preceding air, without any title. In later collections it is
called " The Black Highland Laddie."
"Bonie laddie Highland laddie," No. 332 of the Museum, occurs in
D. Eutherford's " Twenty-four Country Dances," published in 1749 under
the name of "The New Highland Laddy." It is now better known as
" Kate Dalrymple."
No 22 of the Museum, called "'Highland Laddie' New Sett," is a
composition of Dr Arne published in 1754, an excellent melody, also
known as " The New Highland Laddie."
CHAPTER VII.
EAELY SCOTTISH MUSICIANS AND ENGBAVEES.
WILLIAM THOMSON.
We do not possess much knowledge of our early musicians, and what we
do know is mostly gathered from their works. According to William
Tytler of Woodhouselee, William Thomson was the son of Daniel Thomson,
one of the King's Trumpets (i.e.,. a Herald Trumpeter). William was born
towards the end of the seventeenth century, and when a boy took part, as
a singer, at a concert called " The Feast of St Cecilia," in 1695. Tytler
says, " William Thomson was early distinguished for the sweetness of his
voice, and the agreeable manner in which he sung a Scots song." He
settled in London, and we are told that he received frequent royal com-
mands to sing Scots songs at Court, on which occasions he was much
taken notice of.
From Burney's " History of Music " we find that, " In February 1722,
there was a benefit concert for Mr Thomson, the first editor of a collection
of Scots tunes in England. To this collection, for which there was a very
large subscription, may be ascribed the subsequent favour of these national
melodies south of the Tweed. After this concert, at the desire of several
persons of quality, was performed a Scottish Song." Burney is wrong
in calling Thomson the first editor in England of a collection of Scots
tunes ; had he mentioned Scots songs, however, we could not have objected
to his statement. In 1725, Thomson published his " Orpheus Caledonius,
or a collection of the best Scotch Songs set to Musick," a folio volume,
containing fifty songs, dedicated to the Princess of Wales (afterwards
Queen of George II.). A second edition was published in 1733, in two
volumes 8vo. The first volume, containing the same fifty songs as the
folio, revised and considerably altered, was now dedicated to the Queen, and
the second volume, with fifty other songs, was dedicated to Her Grace the
Duchess of Hamilton. It was also largely patronised, as is seen from the
MUSICIANS AND ENGRAVERS. 245
number of subscribers. Allan Ramsay, in the preface to " The Tea-Table
Miscellany," second edition, accuses Thomson as follows: — "From this
Volume, Mr Thomson (who is allowed by all, to be a good Teacher and
Singer of Scots songs), culled his Orpheus Caledonius, the Musick both for
the Voice and Flute, and the Words of the Songs, finely engraven in a folio
Book for the Use of Persons of the highest Quality in Britain, and dedi-
cated to her Royal Highness, now her Majesty our most gracious Queen.
This by the by I thought proper to intimate, and do myself that Justice
which the Publisher neglected; since he ought to have acquainted his
illustrious List of Subscribers, that the most of the Songs were mine, the
Musick abstracted." (Copied from the edition of 1734.) It will be seen
that Ramsay does not claim all the songs, several of which do not appear
in the first volume of " The Tea-Table Miscellany." The following is
Hawkins's estimate of Thomson : " The editor (of the Orpheus) was not a
musician, hit a tradesman, and the collection is accordingly injudicious,
and very incorrect." In the Introduction to the Illustrations Stenhouse
says, " I should think he (Hawkins) must have been misinformed in mak-
ing such a statement " ; but if Hawkins judged by the accompaniments to
the melodies, he was no doubt correct. We have not been able to ascertain
when Thomson died, but a manuscript note found among the papers of
George Chalmers shows that, in March 1753, he received from Robert
Dodsley, the London bookseller, the sum of £52, 10s. for the copyright and
plates of the 1733 edition of his " Orpheus Caledonius."
ADAM CRAIG.
Of his early history we have been unable to find any record. In 1695,
he was one of the professional musicians who took part in the performance
at a concert called "The Feast of St Cecilia." As a violinist he must
have possessed some ability, for he appears in the programme of the
concert as principal second violin; and in a concerted piece for a few
instruments the violin part was allotted to him. William Tytler, in " The
Transactions of the Society of Antiquaries of Scotland," 1792, says: —
"Adam Craig was reckoned a good orchestra player on the violin, and
teacher of music. I remember him as the second violin to M'Gibbon in
the Gentleman's Concert." Craig is better known by his publication, " A
Collection of the Choicest Scots Tunes for the Harpsichord," etc., dated
1730. We possess, however, an undated copy of this work, which we
believe to be earlier. In the " Catalogue of Musick," styled " the complete
and curious collection of the late Lord Colville," one of the lots is Mr Adam
Craig's Works, in one book, folio, MS. This sale took place on November
26, 1728, and the announcement goes to confirm our belief that Craig's
work was published before 1730. Stenhouse says Craig was a very
old man when. he published bis collection, clearly an inference from
246 EARLY SCOTTISH MELODIES.
his performance in 1695. In the Introduction to the Illustrations, it is
stated that, according to Professor Mackie's MS. Obituary, Adam Craig,
musician, died in October 1741. We find, however, that the entry of
Craig's burial in the Greyfriars* Eecords is September 3rd, 1741.
JAMES OSWALD.
The first notice of Oswald we have been able to discover is an advertise-
ment of 1 2th August 1734, announcing " A Collection of Minuets" to be
published by subscription, "Composed by James Oswald, Dancing Master."
Oswald, born 1711, was a Scotsman, but the place of his birth we have
been unable to ascertain. At the date of the advertisement, he was
twenty-three years of age. His book of Minuets, however (as we are
informed by a subsequent advertisement), did not appear till January
1736 ; by which time Oswald had removed from Dunfermline to Edinburgh,
where, in company with Mr Jones, he taught dancing at his lodgings in
Skinner's Close, and where his subscribers were to receive their copies.
David Laing, in the additional illustrations to Part IV of Stenhouse's
" Illustrations of the Lyric Poetry and Music of Scotland," page 406,* says
of Oswald, " He probably held the office of ' Music Master of Dunfermline
and Precentor,' which was advertised as vacant 12th January 1736."
Through the kindness of Mr Fairley, Session-Clerk of the Abbey Church,
Dunfermline, we recently examined the kirk records of the parish for the
five years preceding 1736. The result of the search showed that the
office of music master and precentor had been vacant during the whole of
that period on account of congregational opposition to the presentee of the
Marquis of Tweeddale, and that eventually Alexander Scott from Aberdeen
had been appointed thereto, — 24th June 1736. There is no mention what-
ever of James Oswald, so Dr Laing's surmise would appear to be ground-
less.
In May 1740, Oswald advertises that, " he is at the request of several
ladies and gentlemen publishing by subscription, before he sets out for
Italy, a Collection of Scots Tunes, which will consist of above 50 Tunes,
many of which were never before printed," etc. Subscriptions were to be
taken at bis lodgings in Carrubber's Close, Edinburgh.
Whether he ever did set out for Italy is unknown; but at all events
the work referred to was published before he left the Scottish capital In
1741 or 1742 Oswald settled in London, which he doubtless considered a
better field for his labours ; and there all his subsequent works were pub-
lished. He commenced business as a Music-seller in St Martin's Church-
yard probably not earlier than 1747, as the following advertisement would
seem to indicate : —
GEOEGE E
George the Second, by the Grace of God, King of Great Britain,France,
MUSICIANS AND ENGEAVEES. 247
and Ireland, Defender of the Faith, &c. — To all to whom these Presents
shall come, Greeting ; Whereas James Oswald of Saint Martin's Church-
yard in the Strand, London, Music Master, hath, by his Petition, humbly
represented to Us, that he has composed and employed others to compose
two Operas of Vocal and Instrumental Music intitled The Temple of Apollo,
in order to be printed and published ; And Whereas the said Petitioner in
order to the ascertaining and securing his Property therein hath humbly
prayed Us to grant him Our Eoyal Privilege and Licence for the sole Print-
ing, Publishing, Vending, and Selling the same, for the Term of Fourteen
Years, according to the Statute in that Case made and provided ; We being
willing to give all due Encouragement to Arts and Sciences, are graciously
pleased to condescend to his Eequest, And We do therefore, by these
Presents (so far as may be agreeable to the Statute in that Behalf made
and provided), grant unto him, the said James Oswald, his Heirs, Executors,
Administrators, and Assigns, Our Eoyal Privilege and Licence, for the sole
Printing, Publishing, Vending, and Selling the said Operas for the Term of
Fourteen Years, to be computed from the Day of the Date hereof, strictly
forbidding all Our Subjects within Our Kingdoms and Dominions, to re-
print or abridge the same, in the like or any other size or manner whatso-
ever, or import, buy, vend, utter or distribute any Copies thereof reprinted
beyond the seas, during the aforsaid Term of Fourteen Years, without the
Consent or Approbation of the said James Oswald, his Heirs, Executors,
Administrators, and Assigns, under the Hands and Seals, first had obtained,
as they will answer the contrary at their Perils, whereof the Commissioners
and other Officers of Our Customs, the Master, Wardens, and Company of
Stationers are to take Notice, that due Obedience, be render'd to Our
Pleasure herein declared.
Given at Our Court at Kensington
The 23rd Day of October 1747, in the Twenty-First Year of Our Eeign.
By His Majesty's Command,
HOLLES NEWCASTLE.
It is evident that Oswald's two collections of "Curious Scots Tunes
dedicated to the Prince of Wales," and the first and second books or
parts of his " Caledonian Pocket Companion," published by John Simpson
at the Bass Viol and Flute in Sweeting's Alley, opposite the East Door of
ye Eoyal Exchange, appeared before Oswald commenced business in
London. Simpson also published several contributions by Oswald in the
second volume of "Calliope, or English Harmony."
Dr Laing states in the introduction to Stenhouse s Illustrations, already
referred to (page lvii.), — " The ' Caledonian Pocket Companion ' was origin-
ally published in successive books or parts at London; printed for the
Author, and sold at his Musick Shop in St Martin's Churchyard in the
Strand. This imprint was afterwards altered to ' London ; printed for J.
Simpson in Sweeting's Alley,'" etc. Laing's statement is clearly erroneous,
248 EARLY SCOTTISH MELODIES.
as can be seen by comparing the fac-simile reproductions annexed, which
prove that Simpson's publication was the earlier, and that Oswald had
the two books re-engraved.
A belief was prevalent in Scotland about the beginning of last century,
that David Eizzio was the composer of some of our oldest and finest
melodies. "Whether this belief originated with Wm. Thomson in his
"Orpheus Caledonius," — published in 1725, — or was current earlier, it would
be difficult to say. The date is about 160 years after the murder of Eizzio,
and the idea probably arose in fashionable quarters, where exotic are even
yet preferred to native productions. In his edition of the "Orpheus
Caledonius," London, 1725, Thomson prefixed Eizzio's name to the
following seven tunes, viz.:— "The Lass of Patie's Mill," "Bessie Bell,"
" The Bush aboon Traquair," " The Bonny Boatman," " An' thou wert my
ain thing," "Auld Eob Morris," and "Down the Burn, Davie"; but in
his second edition (1733), he omitted the name of Eizzio. In Watts's
Musical Miscellany, London, 1729-31, the tunes, "Pinkie House"
(Vol. V.), " The Bonniest Lass in all the World," and " Lesley's March "
(Vol. VI.), are ascribed to Eizzio, and in " The Muses Delight," Liverpool,
1754, " Tweedside " appears as a composition of Eizzio. In the preface |o
Francis Peacock's "Pifty Scotch Airs" (1762), the Italian is alluded to as
follows: — "No species of Pastoral Music is more distinguished by the
applause and admiration of all good Judges than the Songs of David
Eizzio. We cannot indeed with certainty distinguish his Compositions
from those of his Imitators, nor can we determine whether he formed
the musical taste of the Scots, or only adapted himself to the national
taste established before his time: but if we believe tradition, it is to
him that the Scots are indebted for many of their finest Airs, and custom
has now affixed his name to this particular Mode of Musical Composition."
The second volume of Oswald's "Curious Scots Tunes" contains six
airs ascribed to David Eizo, viz. : — " The Cock Laird" " The Black Eagle"
" Peggy, I must love Thee" " The Lowlands of Roland" " William's Ghost,"
and " The last lime I came o'er the moor " ; and though this is the only work
in which he uses the Italian's name, Oswald has been denounced as
" unscrupulous," " a noted imposter," etc., because he followed a common
tradition, which passed unchallenged in every publication before that of
Clark, wbo states in the preface to his "Plores Musicse," published in
1773 : — " David Eizzio is now generally fixed upon as the Composer of the
best of those delicate songs; but how so gross a falsehood comes to be
so universally believed, is not easy to determine." Oswald has also been
accused by G-. P. Graham of palming off his own compositions as Eizzio's,
yet not a single example in support of such an accusation has been
adduced ; and while he has been credited with tunes to which he never
made any claim, he has also been charged with having put his name to
others which were evidently not his own composition.
In illustration of the first of these allegations, the following may be
The
CALEDONIAN
POCKET COMPANION
Containing
c/r/wa//
■>. tJ/^a/sL
LONDON Printed for S- i/hflJZdpft, in Sweetings Alley
oppofite the Eaft Door of the Roy^l Exchange
af/vnom mau 6e Aad
The Delightful POCKET COMPANION fortheGorman
Flute containing a Collection of the mod Celebrated Italian
and EngllOi Tanea carionfh/ adapted to that Inftrament in
fix Books Price of each _ _ _ . _ . 1 : .■
j d
or neatly bound, gilt and letterllin one Vol. Price 10 S
Six SONATAS in3 Parts foKCerman Flute a Violin with a Thorough
Bafa for the Harpficord orVioloncello compofd in a familiar e*ut«l
Tafle t by JiqC J/WUrrti Price $ -1
All the ' N
/
•/r//frf'/r,/-///
)/f///t/i) r /)<
Price Bound IO ■= 6
/'MY'/ ^1 *J..
IvONDOK Printed for the Author at hii Mufick Shop on
Pitvanient S* Martins Church Yard, of whom nay he I
JuO puhlifh'd
OSWALDS Airj.fr.rOie Seafon* in four Book-
Tha tfcrrjan Mad PrufTton Sight Pieces, and March c .
A favourite Book or Ducti For r\vo Guitars.
Do ltd*. Sonata* and Divertimento.
Of^M. Srotch tune* for the Harpficord,
•/"»■';
f fii iiii ^ inii rr i i i ii' i riijj' 1
!/?„■ -Jbrntel l/irnp m-.' /»'< ^ , «**<V
t^^gP^^^
The Denke* dang over my Dcddio
MUSICIANS AND ENGEAVEES. 249
quoted from the introduction to Stenhouse's work, page li., referring to an
MS. note inserted in a copy of Oswald's " Curious Scots Tunes," in which
David Eizzio's name is found :-^-" The Airs in this volume, with the name
of David Eizo affixed, are all Oswald's. I state this on the authority of
Mrs Alexander dimming and my mother, — his daughter and sister —
(Signed), H. 0. Weatherley." — " Died at Chester le Street, in the county
of Durham, in her 80th year, Nov. 13, 1821, Mrs Weatherley, relict o'f
the late Edward Weatherley of Garden House in the same county, and
sister of the late James Oswald, Esq., Chamber Composer to his late Majesty,
and justly celebrated as the author of 'Eoslin Castle,' 'Tweedside,' and
numerous compositions of lasting eminence."
Why Dr Laing gave such an absurd note to the public without the
least comment, we are at a loss to comprehend. He must or should
have known that four of the tunes, viz., — " The Black Eagle,"* " Peggy I
must love thee," " The Lowlands of Holland,"-f- and " The last time I came
o'er the moor," claimed by H. 0. Weatherly, were in existence long before
Oswald was born. Oswald is further credited in the obituary notice
with the tunes "Roslin Castle" and "Tweedside," yet, so far as we are
aware, he never attached his name to either in any of his publications.
We question the relationship claimed for Mrs Cumming and Mrs
Weatherley. What assurance have we that the latter was Oswald's sister ?
Her age as given above proves that Oswald was nearly thirty years old
before she was born. The assertion that Oswald palmed off any of his
his own tunes as those of Eizzio, has, we believe, nothing to support it
beyond a poetic epistle that appeared in the Scots Magazine in 1741, i.e.,
after his departure from Edinburgh, which runs thus : —
"When wilt thou teach our soft jEidian fair
To languish at a false Sicilian Air ; J -
Or when some tender tune compose again,
And cheat the town wi' David Rizo's name ? "
The author of these lines probably used a mere poetic licence, without any
evidence that Oswald was guilty of such a practice. The melodies
ascribed to Eizzio in the "Curious Scots Tunes" (including three not found
in any prior printed collection) were never claimed by Oswald, and the
declaration of his soi-disant relations is thus seen to be downright nonsense.
The ascription to Oswald of "The Braes of Ballenden," by Alexander
Campbell in his "Albyn's Anthology," is derived either from the Scots
Magazine, or from Eitson's Scotish Songs.
The assertion that Oswald put his name to tunes evidently not his
own composition, has been made by Chappell with reference to a tune
called " Lovely Nancy." Chappell's suggestion is, however, that Oswald
meant merely to claim the variations. We have discussed this debateable
question in our notice of the air " Lovely Nancy,"— page 50.
* Or " Woman's work will never be done," Leyden MS.
t Or " My Love shoe winns not her away," Skene MS.
X An air in that style.
250 EAELY SCOTTISH MELODIES.
In Oswald's "Caledonian Pocket Companion " there are two airs to which
asterisks are added in the Index; these are, " Sweet's the lass that loves me,"
and "Kitty's Scots Measure"; but Oswald never attached his name to
either. In Henry Playford's Original Scots Tunes, 1700, they are named
respectively "Cozen Cole's Delight," and "Madam McKeeny's Scotch
Measure." Our opinion is, that the two asterisks are simply an engraver's
error, which has been overlooked. It may be noted that the names of a
number of the tunes in the collection have been omitted in the Index, and
that others are not in alphabetical order.
We are unable to understand why George Farquhar Graham, in his
" Songs of Scotland " has used such terms regarding Oswald in his notes to
the songs, " Tweedside," " Afton Water," and " Louden's bonnie woods and
braes," and how John Muir Wood, who edited later editions, should have
retained these notes. Neither can have critically examined the allegations
against Oswald. In the note to " Tweedside," for example, we find James
Oswald described as " a very unscrupulous man, who ascribed several of our
Scottish melodies to Eizzio, for the purpose of enhancing the value of his
collections of Scottish airs in the eyes of the public;" and again, in the note
to " Afton Water," it is said, " We thus see clearly enough that no depend-
ence can be placed on these men " (James Oswald and William Thomson).
Further, we are told "that the contemporaneous Edinburgh collections,
Allan Eamsay's, circa 1726, Adam Craig's, 1730, and William M'Gibbon's,
1742, while they contain most if not all the airs already named, make
no mention whatever of Eizzio ; " but in these collections there are only
three of the six airs ascribed by Oswald to Eizzio, viz., "The Cock
Laird," "Peggy, I must love thee," and "The last time I came o'er
the moor." Again, in the note to " Louden's bonnie woods and braes,"
we find Thomson whitewashed by Graham, while he adds, " James Oswald,
a noted impostor, in his ' Second Collection of Scottish Airs,' also printed in
London, again resumed the ridiculous deception regarding Eizzio," etc.
We believe neither of these gentlemen capable of intentional deception,
and yet a similar attack might with equal justice be made upon them.
Both have erred in accepting Stenhouse's statement anent the authorship
of " Miss Admiral Gordon's Strathspey " (better known as " Of a' the airts
the wind can blaw "), and by adding their own suggestion of an earlier
origin for the melody, they have done what they could to rob Marshall of
his tune. Still, for this and other errors, we would shrink from treating
them in the way in which they have branded Oswald.
The allegation that Oswald was guilty of publishing his own composi-
tions as those of other persons, appears to have arisen from a wrong
interpretation of the announcement which we are about to quote. At the
end of a copy of " The Comic Tunes in Queen Mab, as they are performed
at the Theatre Eoyal in Drury Lane," etc., there has been found the following
notice of an edition of Oswald's works : — " Some time before Mr Oswald's
death, he had fitted for the press a correct edition of his works, as well
MUSICIANS AND ENGEAVEES. 251
those that were known and acknowledged to be his, as those that were
really such, but had formerly been published under the names of others, for
reasons not difficult to guess. There are many excellent composers whose
circumstances will not permit them to please themselves, by addressing
their compositions to the heart, instead of the ear only. His fine taste, his
elegant compositions, his pathetic performance, were well known and justly
admired. In compliance with his own intentions, a genuine edition of his
works is now presented to the public. For such a publication no apology
is necessary. That they are his is sufficient to justify .their appearance
and recommend them to all good judges and true lovers of musick." The
notice bears no date, and it is uncertain what publication is here referred to.
Our belief is that Oswald retired from business some time before his
death, and that having retired, it was his desire to inform the public as to
such of his own compositions as had been issued under various noms de
plume. The above notice was intended to refer, not to his "Scots Tunes," or
to the "Caledonian Pocket Companion," but to his miscellaneous works; and
we have further proof of such an intention from the occurrence of the
same notice on the back of the title-page of another publication, viz. : —
" Six Divertimentis or Solos, For a German Flute or Violin and Violoncello,
Composed by James Oswald, Op. 2nd. First published with the Title of
'Six Divertimentis or Solos, by Dottel Figlio, Op. 2nd.' London: Sold
by Wm. Eandall in Catharine Street, and by Straight and Skillern in St
Martin's Lane near the Strand."
Besides the nom de plume, " Dottel Figlio," we find on some of the titles
of the " Caledonian Pocket Companion," " Six Solos for the German Flute,
by J. E., Esqr," and " Six Sonatas for two German Flutes, by Sigr. Giuseppe
St Martini of London," — designations which we suspect he adopted. Is the
last of these not suggestive of the locality of his house or shop ?
As a Scottish composer Oswald has been lightly spoken of. This may,
however, be accounted for by his early settlement in London, and by the
style of his compositions becoming more adapted to English tastes and
tendencies, — from which circumstances his music lost much of the native
character and simplicity of our older Scottish airs. We have no desire to
laud Oswald's abilities, or to over estimate his compositions, but feel it our
duty to show that he has not received fair treatment. He has claimed in
all about forty tunes in his " Caledonian Pocket Companion," and other
collections of Scots tunes, and these have been wrongly compared with
melodies written for songs, though it is evident they were not intended
for the voice, as, with scarcely an exception, they have too large a compass
for vocal purposes. His collections were published for the German Flute
and Violin, and this accounts for the wide range of notes he made use of.
Among his compositions there are several excellent tunes for these instru-
ments. Five songs written by Eobert Burns, — " 0, were I on Parnassus
Hill," " It is na, Jean, thy bonnie face," " B,ess and her Spinning Wheel,"
" Anna thy charms my bosom fire," and " My Bonny Mary," — have been
252 EAKLY SCOTTISH MELODIES.
set to the following tunes of Oswald's, viz. :— " My love is lost to me," "The
Maid's Complaint," " Sweet's the lass that loves me," "Bonny Mary," and
" The Stolen Kiss," from " Colin's Kisses " (erroneously called " The Secret
Kiss " in the " Caledonian Pocket Companion "). His tune " Alloa House "
is set to a song of the same name written by the Eev. Dr Alexander
Webster, an Edinburgh minister. If the poets chose the airs, which, from
their extensive compass, were beyond most voices, unsuited to their verses,
surely the composer is not responsible. One of the tunes ascribed to Oswald,
" Sweet's the Lass that loves me," is not his, as we have already shown.
Oswald, as a compiler, has preserved for us in his Collections a number
of fine Scots tunes, — both of an early date and of his own time, — that might
otherwise have been lost. He is, therefore, entitled to our respect and
gratitude. "The Lads of Leith," now known as "She's fair and fause,"
is one ; another is the jig without name to which the words of " My tocher's
the jewel " are sung. This tune is erroneously called " The Highway to
Edinburgh " by Aird, apparently from the title of the preceding tune in
the " Caledonian Pocket Companion," in which mistake he is followed by
Stenhouse, who asserts that " the jig is the 'Highway to Edinburgh ' thrown
in treble time," — a clear error, as the two tunes bear not the slightest
resemblance to one another.
Oswald dedicated two of his Collections to Prederick Prince of Wales,
and we think it probable that he taught music to the family of His Eoyal
Highness, — for George III., soon after his accession to the throne, conferred
on Oswald the title of Chamber Composer to His Majesty, as announced
in the Gentleman's Magazine for January 1761. Oswald probably did not
continue long in business after receiving this appointment, for we know
of only one of his subsequent publications that bears on its title, " Chamber
Composer to His Majesty." Our surmise is further strengthened by the
fact that the XL and XII. Books of the " Caledonian Pocket Companion "
bear merely the imprint, " Printed for the Author, and Sold at the Musick
Shops." After a busy life, and having relinquished business, Oswald
seems to have gone to reside in Knebworth, Herts, and to have died there
on the 2nd of January 1769, in the fifty-ninth year of his age.
WILLIAM M'GIBBON.
This , musician was born about the end of the Seventeenth Century.
He was the son of Mathew M'Gibbon who played the hautboy in the Edin-
burgh concert called "The Feast of St Cecilia," 1695. Tytler says,
" William was sent at an early age to London, and studied the Violin under
Corbet (a distinguished master and composer) for many years. After his
return to Edinburgh, he was appointed leader of the orchestra in the
Gentlemen's Concert, which position he held for a long time. He was con-
sidered an excellent performer, and-had great command over his instrument
MUSICIANS AND ENGRAVERS. 253
for a violinist in those days." M'Gibbon composed Six Sonatas or Solos for
a German Flute or Violin, which were published in 1740, and he also com-
piled a collection of " Scots Tunes " in three books, dated 1742, 1746, and
1755. Besides these he wrote several minuets, marches, and airs, which
appeared in various collections by Bremner and other publishers. M'Gibbon
died at Edinburgh in 1756. He bequeathed his whole estate and effects to
the Royal Infirmary of that City. Robert Ferguson, the poet, wrote in his
" Elogy on Scots Music," the following lines in praise of M'Gibbon —
" Macgibbon gane, a' waes my heart :
The man in music maist expert,
Wha could sweet melody impart,
And tune the reed
Wi' sic a slee and pawky art,
But now he's dead.
Ferguson could have had no actual knowledge of M'Gibbon, as he was
only about 6 years old when the musician died.
EARLY SCOTTISH ENGRAVERS.
RICHARD COOPER.
Of the early Scottish music engravers very little is known. The first to
come under our notice is Richard Cooper, who engraved the following
works : — " Musick for the Scots Songs in the Tea-Table Miscellany," circa
1725; Adam Craig's "Collection of the choicest Scots Tunes," 1730; and
the first editions of "William M'Gibbon's " Collection of Scots Tunes," in
three books, dated respectively 1742, 1746, and 1755. David Laing, in his
introduction to Stenhouse's " Illustrations of the Lyric Poetry and Music of
Scotland," 1853, mentions Oswald's Minuets, 1736, Charles Macklean's
Twelve Solos or Sonatas, 1737, and M'Gibbon's Six Sonatas or Solos, 1740,
as the work of Cooper. It may be presumed that James Oswald's " Curious
Collection of Scots Tunes," dedicated to the Duke of Perth, 1740, was also
engraved by him, as his name is found in the list of subscribers for two
copies of the work. Besides these musical works, the beautiful portrait of
Allan Ramsay which adorns the second volume of the quarto edition of the
poems, 1728, is by Cooper. On 11th February 1736, he was admitted a
-free burgess of the city of Edinburgh " for the good services done by him to
the interests of the burgh, conform to an act of the Town Council, dated 28th
January 1736." What services he rendered to the town are not set forth
in the act of Council, but as we find his son George, on the occasion of his
admission to the Society of Writers to the Signet, designated as " second
son of Richard Cooper, Civil Engineer in Edinburgh," we may form
254 EAELY SCOTTISH MELODIES.
some conjecture as to their nature. His death is noted in the
Scots Magazine, under date 20th January 1764: "At Edinburgh, Mr
Richard Cooper, engraver in that city," &c. The entry in the Edinburgh
Courant refers to him as " a curious artist." From the Burgh Register of
Edinburgh, under date 28th January 1764, we find that a disposition is
recorded by Richard Cooper, in which he is styled " engraver in Edin-
burgh," and from which it can be seen that he must have been possessed
of considerable means and heritable property, situated in the Canongate,
" opposite to the church thereof," where he had his dwelling-house, workshop,
and garden. His eldest son, Richard, was an engraver in London, and to
him he left by special bequest his " pictures, prints, instruments, and all
materials relating properly to his occupation and business." On the same
date is recorded the will, wherein he describes himself " Richard Cooper
Engraver in Canongate." Cooper is said to have been buried in the
Canongate Churchyard, but on this point it seems hopeless to get accurate
information. His widow died at Restalrig, 23rd September 1775.
ALEXANDER BAILLIE.
We have very little information of this engraver beyond that furnished
by himself. He states that his first essay at music engraving was the
small collection entitled " Airs for the Flute, with a Thorough Bass for the
Harpsichord," which he dedicated to the Right Honorable the Lady Garlies,
December 1735. Another work bearing his name is a " Collection of Old
Scots Tunes, etc.," by Francis Barsanti, published in 1742, printed by Alex-
ander Baillie, and sold by Messrs Hamilton & Kincaid. We may assume
that he engraved as well as printed this work. Dr David Laing, in his
Appendix to the Introduction of Stenhouse's Illustrations, says, " there was
a small treatise on Thoro' Bass, by A.B., printed in 1717 ; whether it
should be ascribed to Alexander Baillie can only be conjectured." As there
is no music engraving in that work the conjecture is probably baseless, and
he himself states that his first essay was made eighteen years later.
THOMAS PHINN.
The next who comes under our notice is Phinn. He advertises in
January 1752 : — " Thomas Phinn, Engraver, First Turnpike on the Right-
hand, Top of Stair within the head of the uppermost Baxter's Close, Lawn--
market, Edinburgh, engraves all kinds of Copper Plates," etc. In 1757 he
engraved " Thirty Scots Songs " for Robert Bremner, a copy of which work
is in the possession of Mr Frank Kidson, Leeds, bearing Phinn's name on
the title-page. The ensuing advertisement shows that he had a partner in
1764 :— " The Vocal Museum — Wherein the grounds of Music, the
MUSICIANS AND ENGRAVERS- 255
intervals, solomization, pronunciation, transposition, etc., are all distinctly
handled. By John Girvin. Is. Phinn & Mitchelson, and Stewart." In
January 1767 another advertisement appears as follows: — " Just published,
and Sold at the Shop of Thomas Phinn Engraver Luckenbooths, A Map of
Scotland. Price 5s. Also just now published and Sold at the above Shop,
the first three Numbers of a Collection of Airs &c for the Violin or Ger-
man Piute, with a Bass for the Violincello or Harpsichord taken from the
best masters and published in Six Numbers, each Number consists of 16
pages. Price Is.," etc., etc. Phinn's death, though we have failed to find
it recorded, probably occurred before the following announcement, dated
April 1769 : " Music- — This day was published a Collection of Lessons for
the Harpsichord or Piano Forte, composed by Mr Tenducci, dedicated to
Lady Hope, to be had at Mrs Phin's the Engraver, and at Bremner's Shop.
Price five shillings." We are inclined to think that Phinn's music en-
graving business was very limited.
JAMES BEAD.
We have an impression that Bead was the successor to Eichard
Cooper, at least he executed the largest amount of music engraving
in Edinburgh between 1756 and 1772. Among the works bearing his
name are, The Second Set of Bremner's Scots Songs, 1757 ; " A Curious
Collection of Scots Tunes," 1759 ; " Twelve Scots Songs," 1760 ; " The
Harpsichord or Spinnet Miscellany," 1761, published by Eobert Bremner.
He also executed for Neil Stewart " A Collection of the Newest and Best
Reels or Country Dances," of which six numbers were issued, 1761-2.
Though without any direct evidence, we may assume that, with one or
two exceptions, he engraved the whole of the music published in Edinburgh
by R. Bremner. An examination of his work shows that Read was an
excellent engraver, but how long he was in business or what became of
him, we hare no information. His name does not appear in any of the
editions of Peter Williamson's Edinburgh Directory, the earliest publica-
tion of its kind in Scotland.
WILLIAM EDWARD.
An engraver of this name, probably an Englishman who had been in
the employment of Richard Cooper (who had retired from business
some years previous to his death), engraved two works about 1760.
One, "Six Solos for a Violin with a Bass for the Violoncello and Thorough
Bass for the Harpsichord," for Neil Stewart, ob. 4to, pp. 35 ; the other, a
" Collection of Scots Reels or Country Dances and Minuets," etc., oblong
4to, pp. 45, for Robert Bremner. Edward had apparently left Edinburgh
soon afterwards, as we are unable to find any further information about him.
256 EAELY SCOTTISH MELODIES.
JAMES JOHNSON, Engraver.
James Johnson was born in 1753, or early in the following year. We
have no knowledge of his birthplace. His father, Charles Johnson, was a
stay-maker, who, in 1773, resided opposite the Meal-market.
Though we have no definite information as to how Johnson gained
experience in his craft, we are of opinion, from a comparison of his
early work, that he was apprenticed to James Eead. It is evident
that Johnson had begun business in 1772, because the following works —
" A Collection of Favourite Scots Tunes with Variations for the Violin,"
etc., and " A Collection of Scots Songs adapted for a Voice & Harpsichord,"
for Neil Stewart, Miln's Square, — bear "J. Johnson, Sculpt." on their titles.
He had probably done some work for Eobert Bremner about the same date,
as may be inferred from the lines entitled " Kinghorn Verses in the Fife
dialect " : —
To play the same tune without cease The Johnstons and Jardines of auld
Wou'd tyre even the dowest I trow ; Were said to be wonderfu' lowns ;
So we hare chang'd Oswald's Bass But here is a Johnston sae bauld,
For John come kiss me now. He has lifted a couple o' towns.
Brcmner's Mime Shop.
From the many works on which his name is found, it can be clearly
seen that Johnson had obtained most of the music engraving in Scotland
between 1772 and 1811. Peter Williamson's Edinburgh Directories
contain no entry of Johnson, engraver, before 1775-6. In it he appears
as " Johnstone, James, Engraver, Eeoch's Land, Cowgate," the address to
which his father had removed the previous year. In all the subsequent
directories his name is invariably printed Johnston instead of Johnson, till
1805.
In 1782 he is located in the Luckenbooths, but we presume this was
merely a workshop, which he held till 1790 or '91, for throughout this
period he continued to live with his father at the foot of Old Fishmarket
Close and in Bell's Wynd. He published the first three volumes of the
"Scots Musical Museum" at the latter address, and resided there when
Burns made his acquaintance.
In July 1790, Johnson advertised under the firm of James Johnson &
Co., at a shop in the Lawnmarket, at the head of Baxter's Close, and there
he carried on his business of engraver and musicseller till 1811, in which
year he died of fever, aged 57 years. His widow continued to carry on his
business at 475 Lawnmarket, under the designation of Johnson & Anderson,
assuming as partner John Anderson, a former apprentice of Johnson, who
had begun engaving on his own account in 1809, at North Gray's Close.
In 1812, the firm transferred their business to North Gray's Close,
where it came to an end in 1815 — in which year Anderson joined George
Walker, the new firm being called Walker & Anderson.
MUSICIANS AND ENGEAVEES. 257
In a notice of his death he is stated to be the first person to strike
music on pewter plates, thereby effecting a considerable reduction of
expense ; but music was struck on such plates much earlier than his day,
though he may have been the first to introduce pewter into Scotland in
place of copper, — the metal previously used. Brown & Stratton, in "British
Musical Biography," 1897, state that Dr William Croft, who died in 1727
introduced the printing of music from pewter plates, a practice which was
generally followed afterwards.
GEOEGE WALKEE.
We have discovered from a dated copy of a set of Sonatas that George
Walker had begun business in 1790. He had probably been one of Johnson's
apprentices, who, seeing the demand for music engraving about that date,
set up in opposition to his former master, and we find that he engraved
several Collections which were previously in Johnson's hands. He seems
to have had a considerable business even in Johnson's day, but whether it
arose from a demand which the latter could not overtake, or from other
causes, we are unable to say. In 1793, Walker's address was at the head
of Galloway's Close, from which he removed in 1796 to the head of
Skinner's Close. He is found at the Fountain Well in 1805, where he
remained till 1811; he then removed to Epulis Close and formed a partner-
ship with William Hutton, which lasted till 1815. He now assumed as a
partner John Anderson (who was formerly associated with Johnson's
widow), and carried on business as Walker & Anderson at 42 High Street,
which partnership was dissolved in 1826. The business was then conducted
as Walker & Co. at the same address, and in 1829 it was removed to No. 2
North Bridge, where it terminated in 1848, after lasting fifty-eight years.
We have not been able to ascertain when George Walker died, but we
know that the business was carried on by his widow for a number of
years previous to 1848.
MATTHEW HAEDIE, Violin Maker.
Matthew Hardie was born 23rd November 1754. His father, Stephen
Hardie, was a clock maker in Jedburgh. Matthew learned the trade of a
joiner, and on 19th May 1778 he and a younger brother named Henry,
also a joiner, enlisted in the South Fencible Eegiment, commanded by His
Grace Henry Duke of Buccleuch, giving his age as 26, which was plainly
an overstatement. He obtained his discharge on 21st October 1782, od
presenting as his substitute a certain John Scott.
E
258 EAELY SCOTTISH MELODIES.
Matthew Hardie's name is first found in connection with music in the
list of subscribers to Niel Gow's Second Collection, 1788. After that
it appears in Peter Williamson's Directory for 1790-92 as "Matthew
Hardie, Musical Instrument Maker Lawnmarket." In "Williamson for
1794-96 he is styled "Fiddle Maker," and has changed his residence to
Carrubber's Close, but apparently he did not remain long there, for he is
entered in Aitchison's Directory for 1795-6 as "Musical Instrument
Maker, head of Baxter's Close, Lawnmarket." In 1799, Hardie removed to
" opposite the Fountain Well north side," where he remained till 1811. It
may be mentioned that in 1800, the year of the dearth, the following
appeal was made on his behalf in an advertisement dated 3rd May.
" Subscription Concert and Ball For the Benefit of Matthew Hardie
and his Family Who have been honoured with the patronage of Her
Grace the Duchess of Buccleuch Eight Hon. Lady Charlotte Campbell
Hon. Mrs Dundas of Arniston Besides several other Ladies and Gentle-
men of distinction To be held in Bernard's Eoom Thistle Street on
Tuesday the 9th May curt at eight o'clock in the evening Leader of the
Band Mr Bird, Piano Forte Mr Clark.
PLAN OF THE CONCERT.
Act I. Act II.
Grand Overture . Haydn. Song Mr Cooke.
Song Mr Cooke. PleyeFs celebrated Coneertante
Overture .... Pleyel. Mess. Bird, Bernard &c.
Song .... Mrs Bramwell. Song .... Mrs Bramwell.
Glee — The Erl King . Mrs Bramwell,
Mr Stewart, and Mr Cooke.
Tickets (Three Shillings each) to be had at Mr Hardie back of Fountain
Well, at all the Music Shops, and at the Door of the Booms."
The next year he is again appealing for funds on account of his numerous
family, in the following terms — " Ball — Under the Patronage of the Eight
Hon. the Earl & Countess of Dalkeith- and the Officers of the 4th Eegiment
N B M Will be held on Tuesday the 24th Feb. 1801 in Bernard's Booms,
Thistle Street For the Benefit of Matthew Hardie Violin Maker To begin
at Eight o'clock Evening Since the conclusion of the American War, when
the South Fencibles were discharged in which corps M. H. had the honour
of serving, he has applied himself to making Violins etc. but on account of
his numerous family, has never been able to acquire a sufficient stock to
carry on trade to advantage, Therefore the Eight Hon. the Earl and
Countess of Dalkeith, with the Officers of the Eegiment commanded by
his Lordship have generously agreed to patronise him. His Lordship has
likewise permitted the Band of the Eegiment, so much and justly admired
to perform some Favourite Pieces before the opening of the Ball. Tickets
3s each to be had at M. Hardie's house back of Fountain Well, at all the
Music Shops and at the doors of the Eooms."
Judging from these advertisements, one is forced to the conclusion that
Matthew Hardie was a man of no fixed principle, for, so far as can be
MUSICIANS AND ENGKAVEKS. 259
discovered, his numerous family at the date of the Ball in 1801 consisted
of his wife and two children. Hardie was twice married, first to Juliet
Baillie, but no entry of this marriage can be found. A son was born on
3rd July 1796, named William, and another on 14th January 1801, named
Charles William ; these were evidently the whole family at the date of the
Ball. His wife died September 17th, 1801, and his son Charles April 26th,
1802. He contracted a second marriage on 29th May 1802 with Hannah
M'Laren. A son Thomas, who afterwards succeeded him in business, was
born on 14th February 1803. He had also two daughters, named Hannah,
born 14th September 1804, and Henrietta Erskine, born 7th February
1806. With the exception of Thomas, nothing is known of his family.
Matthew Hardie was a really good artificer, and he turned out a consider-
able number of excellent violins and violoncellos, though at the beginning
of the century he was not able to procure the best of materials. His
instruments were powerful in tone, and after several years' use became
more mellow in quality, still retaining their power. Unfortunately he
did not follow temperance principles, and when under the influence of
liquor his productions were inferior. A very good story is related of
Hardie, which the writer heard upwards of forty years ago from the late
Mr W. S n, a gentleman amateur who knew him well. Previous to
the visit of George IV. in 1822, a number of gentlemen started a proposal
to present His Majesty, who was a Violoncello player, with an instrument
by Hardie, which was to be made from old Viol di Gambas, and they
started a subscription for the purpose of paying the cost, Hardie evidently
receiving the subscriptions personally. Mr S n, one day being at
Hardie's house, saw a letter delivered to Mrs Hardie, who passed it to her
husband. On opening it he found a guinea enclosed, which he put into
his pocket, with the remark, " The drappin' guse again," alluding evidently
to another of the subscriptions. The Violoncello, it may be added, was
never completed, and the belly made from the Viol di Gambas fell into the
hands of the writer's father, and was fitted by him to an instrument of
Hardie's make. Hardie was located at the back of the Fountain Well
longer than at any former or subsequent residence. His name does not
appear in the Directory for 1811-12, but after that date he is found in
Bailie Fyfe's Close, from which place he removed in 1814 to 24 Low
Calton, where he remained till 1822, and in that year he changes to No.
10 Paul's Work. His name then disappears, but in 1824-25 the firm of
Matthew Hardie & Son appears again at 15 Shakespear Square. Whether
Hardie actually resided there, or as the result of his intemperate habits
was already in the Charity Workhouse, is uncertain — probably his name
was used with the sole intention of transferring the business to his son.
Matthew Hardie was a member of the Edinburgh Musical Fund, but
apparently could not keep up his payments, and as a result of not
clearing his arrears, his name was, after several warnings, struck off the
membership in April 1825 (arrears from 1817 onwards).
260
EARLY SCOTTISH MELODIES.
The following entry is from the Greyfriars Burial Register : " Matthew
Hardie Violin Maker died 30th August 1826 CWH (Charity "Workhouse)
buried in G-reyfriars on 31st." His age (71) is not recorded in the entry.
APPENDIX.
No. 95. " Lochaber." — In opposition to Mr Moffat's presumption, we
give the tune, " Since Coelia's my foe," from John Playford's " Choice Ayres
and Songs," 1676 — where it is printed along with Duffet's verses. It is
evident from this work that the air of " Lochaber '' was not originally used for
Duffet's song — and probably in ignorance of the "Irish tune,"—" Lochaber"
was substituted with the title, " Since Coelia's my foe," in the Lover's
Opera, 1730. It is absolutely necessary to prove the Irish claim to
"Lochaber" by demonstrating its publication under another name, at a
more remote date than that of " The Aria di Camera." In the Appendix
to Moffat's " Minstrelsy of Ireland," he says, " The air entitled ' Sarsfield's
Lamentation ' in the Hibernian Muse, c. 1789, is entirely different from
Limerick's Lamentation." He could have ascertained this fact from " The
Aria di Camera," in which both appear.
Since Ccelia's my fo~
^i ijjJii'C f|JJ]Jir J 3 U Jf ifrf i j.JfliJi p ^
^■m^mm^j^wiiz
No. 133. " What will i do gin my Hoggie die ? " — It is said, " This song
might have been lost, but for the old woman singing it," but the tune was
not so likely to perish. Beside the two sources mentioned in our note, we
have discovered it under the strange title of " Cocks Louns walie hoyn " in
"A Collection of Original Scotch Tunes for the Violin — The Whole
Pleasant and Comicall being full of the Highland Humour," published by
John Young, London, circa 1727.
262
EARLY SCOTTISH MELODIES.
No. 175. "How long and Deeaey." — We present our readers with
another melody for this song.
HOW I.ONO AND DKEABY 16 TEE.NIQHT.
How bug ud dreary is the night, ythta 1 am fras my d» * rip, I rest - less lie trae
^
mm
C^ I tiff
eVn to morn, Tho* I were ne'er em wea • ry. For, oh ! Jwr h=e • Jy nights *» long, And
Jtcjcifc^itfCLftiflJJci^rcirf i
ob 1 he I dreamt art co - ila, And,
oh I her mi ■ dow'd heart is aair, That's ab - tent Trae her des - ne.
No. 309. "Cock up youe Beavee." — We have noticed ChappeU's
remarks about the words of " Johnny Cock thy Beaver," but we omitted
to state that the tune appears in " Choice New Songs. Never before
Printed. Set to Severall New Tunes by the Best Masters of Music.
Written by Tho. D'Urfrey, Gent. London Printed by John Playford, for
Joseph Hindmarsh (Bookseller to His Boyal Highness) at the Black Bull
in Cornhill, 1684," entitled, "The Horse Eace; a Song made and sung
to the King at Newmarket ; Set to an excellent Scotch Tune, called, Cock
up thy Beaver, in four Strains." ChappeU's ideas about evidence are
curious and perplexing. In his note to Liliburlero, Pop. Music App., p.
786, he carefully distinguishes between the terms "composed" and "set,"
shewing that the latter term simply means the adaptation of an existing
tune to a certain instrument or song. In the same work, p. 511, he argues
that the tune, " She rose and let me in," is composed by Thos. Farmer — his
sole evidence being that in D'Urf ey's New Collection, the tune is " set " by
Thos. Parmer. Surely W. Chappell is here " hoist with his own petard."
See " She rose and let me in," page 35.
410. " My wife has ta'en the gee."— The original melody for this song
is not given in " The Scots Musical Museum." The tune contributed by
Mr Hunter of Blackness to Gow's "Fifth Collection" is, however, an
indifferent setting of the original air, which we have found in. a small
" Collection of Scots Tunes," published in numbers by James Aird, Glasgow,
circa 1788. Stenhouse says, " the tune in the Museum was communicated
by Burns," but without producing the least evidence in support of his
statement. Burns, who was well acquainted with Aird's publications, was
not likely to furnish a tune totally distinct from Aird's accepted and most
appropriate melody.
APPENDIX.
263
My Wife ius ta'bs thb-Gbe.
■le wi' him, In ths nieai bor row* town. Bat, ah I « - Itlce it wu the
flr ju-fcrtfTr^r'i'Migrj.i
^m
uir the v»ur far
For lang or t'et th*l I 'cun' Imrae, Hy irife "bad u'es ths
No. 491. " There was a wee bit Wifhkie." — We find in the Scotsman,
of January 22nd, 1831, the following obituary notice : — " At Aberdeen, on
the 5th inst., Deacon Alexander Wilson, tailor, in the 87th year of his age.
Mr Wilson was possessed of considerable poetic talent, and was well known
as the author of that popular song, ' The Kail Brose of Auld Scotland ; '
but it is not perhaps so generally known, that, besides several pieces of
inferior note, he was the author of that truly original and humorous song,
called ' The Wee Wifikie.' Indeed, when he heard this song ascribed to
such men as Bishop Geddes, the Eev. John Skinner, and others ranking
high in literary talent, it seemed to gratify him not a little, but he would
only remark, ' Mony ane has gotten the wyte o' that bit thing.' On the
writer of the present notice asking him how such a ludicrous idea could
enter his brain as the subject of the song in question ? he said, ' If there be
any merit in clinking it together, it is mine : but I have none whatever in
framing the story, for it was told me by a loon from the country while
working beside me.' " — Aberdeen Journal.
Eeaders may form their own opinion as to the statement here quoted.
It may not be generally known that there is an English version of the
song identical in motive but entirely wanting in the pawky humour of the
Scottish verses. We quote a sample —
By came a Pedler
His name was Stout
He cut off her petticoat
Short round about.
He cut off her petticoats
Bound by the knees
Which made the old woman
To shiver and to freeze.
It matters not who composed or adapted the melody in the " Museum "
there cannot be any doubt of its Scottish nationality.
264 EARLY SCOTTISH MELODIES.
" Queen Elizabeth's Virginal Book." — The English manuscript which
goes under the above title, whatever its age may be, was not written in
Elizabeth's reign. We quote the following from Chappell's "Popular
Music of the Olden Time " : — " Dr Burney speaks of this manuscript first
as going under the name of Queen Elizabeth's Virginal Book, and afterwards
quotes it as if it had really been so. I am surprised that he should not
have discovered the error, considering that he had it long enough in his
possession to extract one of the pieces, and to give a full description of the
contents (iii. 86, et seq.). It is now so generally known by that name, that
for brevity's sake I have employed it throughout the work. Nevertheless
it can never have been the property of Queen Elizabeth. It is written
throughout in one handwriting, and in that writing are dates 1603, 1605,
and 1612." Chappell describes the manuscript thus : — " It is a small-sized
folio volume in red morocco binding of the time of James I., elaborately
tooled and ornamented with fleurs de lis, etc., gilt edges, and the pages
numbered to 419, of which 418 are written." He says also, " The manu-
script was purchased at the sale of Dr Pepusch's collection in 1762 by E.
Bremner, the music publisher, at the price of ten guineas, and by him given
to Lord Fitzwilliam." We cannot believe that Bremner, who only began
business in London in December 1762, would pay ten guineas for the MS.
and give it away to a nobleman. Note that the date of the sale is ten
years subsequent to Dr Pepusch's death, July 20, 1752, vide J. D. Brown's
" Biographical Dictionary of Musicians," 1886. The history of the manu-
script before it fell into the hands of Pepusch appears to be obscure, and
its age can only be conjectured from the dates in the transcriber's hand-
writing which are found in it.
INDEX.
For Comparative and Reference Tunes, see separate Index, page 271.
Absence
Ae day a braw wooer, etc.
Afton Water
Ah ! Mary, sweetest maid
Ah ! the poor shepherd's mournful fate,
" Gallashiels "
Ah ! why thus abandon'd, etc. -
Alace I lie my alone I'm lik to die awld
Allan Water
Alloa House
An Gille dubh ciar dhubh
An I'll awa' to bonny Tweedside
An thou were my ain thing
And I'll kiss thee yet, yel, "Braes 0'
Balquhidder"
Anna, thy charms my bosom fire
Argyle is my name
As I cam down by yon castle wa'
As I came in by Auchindown
As I came o'er the Cairney Mount
As I lay on my bed on a night -
As I was a wand'ring (Rinn mi cudial
mo mhealladh), A Gaelic air
As I went o'er, etc.
As I went out ae May morning
As Sylvia in a forest lay
As walking forth
Auld goodman (The)
Auld King Coul
Auld lang syne -
Auld man, etc. (The) -
Auld man's mare's dead (The) -
Auld Rob Morris
Auld Robin Gray
Auld Sir Simon the King
Auld wife ayont the fire (The)
Awa, whigs, awa
Aways my heart that we mun sunder
Ay waukin' O -
Banks o' Doon (The) -
Banks of Helicon (The)
Banks of the Dee (The)
Banks of the Devon (The), ("Bhannerach
dhonnachri")
Banks of Forth (The) -
Banks of Nith, and the Blue-eyed lassie,
(Robie donna gorach)
Banks of Spey
Bannocks o' bear meal -
Battle of Harlaw (The)
Page
120
220
181
222
109
146
98
70
139
103
231
61
123
223
231
165
157
204
236
170
217
184
194
218
162
206
66, 188
192
209
123
142
169
196
146
104
130, 180
• 178
204
219
112
81
156
121
206
218
Page
Battle of Sherra-moor (The), (Cameron-
ian Rant) 153
Beds of sweet roses 61
Benny side - no
Bess and her spinning-wheel 174
Bess the Gawkie 61
Bessey's Haggies - 67
Bessy Bell, and Mary Gray 102
Beware o' bonie Ann 131
' ' Bhannerach dhon na chri " 112
Bide ye yet go
Biographical Notices —
Baillie, Alexander, engraver 254
Cooper, Richard, engraver - 253
Craig, Adam 245
Edward, William, engraver 256
Hardie, Matthew 257
Johnson, James, engraver - 256
M 'Gibbon, William 253
Oswald, James - 246
Phinn, Thomas, engraver - 255
Read, James, engraver 255
Thomson, William 244
Walker, George, engraver 257
Birks of Aberfeldy (The), (Birks of Aber-
geldie) - 94
Birks of Invermay (The) 80
Black Eagle (The) - 135
Blathrie o't (The) - 68
Blink o'er the burn sweet Bettie 72
Blithsome Bridal (The) 75
Blue bells of Scotland (The) 227
Blue bonnets - 202
Blue-eyed lassie, and the Banks of Nith
(Robie donna gorach) 156
Blyth was she - 119
Boatie Rows (The) 194
Boatman (The) - 63
Boddich na' mbrigs, or Lord Bread -
albines Marc"h - 149
Bonie banks of Ayr (The) 154
Bonie Bell - 182
Bonie Dundee - - 45, 91
Bonie Kate of Edinburgh - 124
Bonie lad, etc. (The) - - 162
Bonnie laddie Highland laddie 166
Bonie lass made the bed to me (The) 199
Bonnie May - 94
Bonniest lass in a' the warld (The) - 93
Bonny Barbara Allan - - 132
266
INDEX.
Page
Bonny Bessie ( " Bessey's Haggle's ") 67
Bonny Brucket lassie (The) - 79
Bonny Christy - 76
Bonny Earl of Murray 119
Bonny grey-ey'd morn (The) 83
Bonny Jean - 74
Bonny wee thing (The) 168
Braes of Ballenden - 86
Braes o' Ballochmyle (The) 151
Braes o' Balquhidder - 123
Braw, braw lads of Gala Water 101
Breast knot (The) - 130
Bridal o't (The) (Lucy Campbel) 149
Brisk young lad (The) - 132
Broom blooms bonie (The) 203
Broom of Cowdenknows (The) 35> 79
Bruce's address to his army 235
Bush aboon Traquair (The) 83
Busk ye, Busk ye 78
Butcher Boy (The) • 159
By the delicious warmness of thy mouth 144
Ca' the ewes to the know'es - 147
Calder Fair - 32
Cameronian Rant 153
Campbells are comin' (The) 157
Captain Cook's death, etc. 152
Captain's Lady (The) - 136
Captive ribband (The) (A Gallic air) 145
Cardin' o't, etc. (The) 197
Carle an' the King come - 139
Carle he came o'er the craft (The) 104
Carlin of the glen (The) 192
Carron side - 158
Cauld frosty morning 135
Cauld is the e'enin blast 27, 237
Cauld kail in Aberdeen 1 13
Cease, cease, my dear friend, to explore 141
Charlie he's my darling 1 94
Cherry and the slae (The) ("The Banks
of Helicon ") - - 204
Chronicle of the heart (Tune — Gingling
Geordie) .... 204
Chronological list of "Highland Laddies" 241
Clarinda - 124
Clout the caldron - 65
Cock laird, fu' cadgie (A) 108
Cock up your beaver - 160, 262
Cocks Louns walie hoyn 261
Cogie of ale and a pickle ait meal (A) 227
Colin Clout - 227
Collier's Bonny Lassie (The) 71
Colonel Gardener (Sawnies pipe) 127
Come follow, follow me • 224
Come here's to the nymph that I love
(" Auld Sir Simon the King ") - 169
Come kiss me, come clap wi' me 171
Come under my plaidy - 224
Comin' thro' the Rye (1st sett.) 192
Cooper o' cuddy (The) - 195
Corn Riggs - - 50, 87
Could aught of song 212
Country lass (A) 169
Country lassie 1 76
Craigie-burn wood 158
Cromlet's lilt - 124
Cumbcrnauld-House 106
Cumnock Psalms ■ 186
Dainty Davie -
Day returns, my bosom burns (The)
Deil tak' the wars
Deil's awa wi' the Exciseman (The)
Deuk's dang o'er my daddie (The)
Dinna think bonie lassie I'm gaun to
leave you -
Donald and Flora
Donald Couper
Donocht head -
Down the burn Davie
Drap o' capie O !
" Druimion dubh "
Duke of Albany (The) -
Duke of Gordon has three daughters (The)
Dumbarton's Drums ...
Dumfries Volunteers (The)
Duncan Davison
Duncan Gray
Dusty Miller -
Earl Douglas's Lament
East nook o' Fife
Eppie Adair
Eppie M'Nab -
Etrick Banks
Evan Banks
Evanthe
Ewie wi' the crooked horn (The)
Failte na miosg
Fair Eliza (a Gaelic air)
Fairest of the Fair (The)
Farewell ye fields, etc. •
Fife and a' the lands about it
Fine flowers in the valley
Finlayston House
Flowers of Edinburgh (The)
Flowers of the Forest (The)
For a' that an' a' that
For lake of Gold
For the sake o' somebody
" Fourteenth of October "
Frae the friends and land I love ("Car-
ron side ") -
Frennett Hall
Fy gar rub her o'er wi' strae
Gaberlunzie man (The)
Gae to the ky wi' me Johnny
Gallant Weaver (The)
"Gallashiels"
Galloway Tam -
Gardener wi' his paidle (The)
Gentle swain (The)
Gently blaw, etc.
Get up and bar the doo;
Gilderoy
Gill Morice
Gin a body meet a body
Gingling Geordie
Gladsmuir
Glancing of her apron (The)
Gloomy December
Go plaintive sounds
Go to Berwick Johnny -
Go to the ew-bughts, Marion
Good morrow, fair mistress
Good night, and joy be wi' you a'
Gordon's has the guidin' o't (The)
Page
68
133
146
184
184
230
144
167
178
81
157
119
58
192
»3
227
108
113
41, 107
168
151
153
167
83
214
180
156
'45
176
67
235
ioo
163
149
63
77
155
114
196
118
158
154
63
134
i°5
182
109
164
132
66
231
158
78
126
57
204
126
199
214
235
220
84
210
241
92
INDEX.
267
82
182
209
221
191
104
Green grows the rashes
Green sleeves
Gude Wallace -
Gudeen to you kimmer -
Had I the wyte she bad me
Hallow ev'n
Hallow Fair (There's fouth of braw
Jockie's, etc.) - 200
Hamilla (The bonniest lass in a' the warld) 93
Hap me wi' thy petticoat 106
Happy clown 144
Hard is the fate of him who loves 238
Hardynute : or, the battle of Largs 152
Have you any pots or pans ? 220
Haws of Cromdale (The) 210
He who presum'd to guide the sun (The
maid's complaint) - 94
Her absence will not alter me 80
Here awa', there awa' 75
Here's a health to my true love, etc. 115
Here's a health to them that's awa - 188
Here's his health in water 208
Here's to thy health, my bonnie lass
(" Loggan Burn") 213
He's dear dear to me, etc. 227
Hey ca' thro' 183
Hey, how, Johnie lad 173
Hey, Jenny come down to Jock 115
Hey my kitten my kitten 230
Hey Tutti Tuiti 117
Highland Balow (The) - 205
Highland character (The) 129
Highland Laddie (The) ■ 65, 204
' ' Highland Laddies, " chronological list of 24 1
Highland Lamentation 119
Highland lassie O (The) 99
Highland Queen - 60
Highland song - - 147
Highland widow's lament (The) 214
Highlander's lament (The) - 129, 238
Hooly and Fairly - 122
How long and dreary is the night (a
"Galickair") ' 118,262
How sweet is the scene 233
How sweet the lone vale 233
Hughie Graham 158
Humble Beggar (The) 193
I care na for your een sae blue - 241
I do confess thou art sae fair 163
I dream'd I lay, etc. - 107
I had a horse, and I had nae mair 121
I hae a wife o' my ain 171
I loe na a laddie but ane 147
I love my Jean (Miss Admiral Gordon's
Strathspey) - 137
I love my jqvial sailor - 183
I love my love in secret - 127
I made love to Kate - - - S3. 54
Ianthy the lovely 92
If e'er I do well 'tis a wonder - 164
I'll ay ca' in by yon town - 202
I'll mak' you be fain to follow me 148
I'll never leave thee - - 86
I'll never love thee more - 31, 200
I'm o'er young to marry yet - 93
In Brechin did a wabster dwell 221
In yon garden, etc. - 232
Invercauld's Reel
It is na Jean, thy bonie face
It was a' for our rightfu' king
I've been courting at a lass
I wish my love were in a mire -
Page
124
166
214
159
69
I, who am sore oppressed with love
(" Lovely lass of Monorgon ") 108
Jamie come try me 135
Jamie o' the glen 187
Jenny dang the weaver 102
Jenny Nettles - 73
Jenny was fair and unkind ("Scots Jenny") 128
Jenny's Bawbee 213
Jig of Johnny Macgill (The) 128
Jocky fou, and Jenny fain 180
Jocky said to Jeany 76
Jockey's ta'en the parting kiss - 233
John Anderson my jo 25, 146
John, come kiss me now 27, 159
John Hay's bonny lassie 79
John o' Badenyond 154
Johnie Armstrong 172
Johnie Blunt 176
Johnie Cope 137
Johnny M'Gill - 128
Johny Faa, or the Gipsie laddie 120
Jolly beggar (The) - 147
Joyful Widower 90
Jumpin John 105
Katherine Ogie 48, 114
Katy's answer 117
Kellyburn braes 180
Killiecrankie 156
Kind Robin loves me 207
Kitty Tyrell 222
Laddie lie near me 131
Lady Bothwell's lament 103
Lady Mary Ann 179
Lady Randolph's complaint (" Earl
Douglas's lament ") 168
Lass, gin ye lo'e me, tell me now 141
Lass of Ecclefechan (The) 194
Lass of Livingston (The) 64
Lass of Peaty's Mill (The) - 65
Lass that winna sit down (The) 203 ■
Lass wi a lump of land - 116
Lassie all alone (A) ("Cumnock Psalms") 186
Last time I came o'er the Moor (The) 64
Lazy mist (The) - 136
Leader haughs and Yarrow 129
Leezie Lindsay - 196
Leith Wynd - 142
Lennox love to Blantyre or The Wren 209
Leslie's March - - 40
Let me in this ae night - - 161
Lewis Gordon - - 84
Limerick's Lamentation 261
Linkin Laddie (The) - 139
Little wat ye wha's coming 234
Liv'd ance twa lovers in yon dale 240
Lizae Baillie - - 201
Loch Eroch side - 82
Lochaber 87, 261
Logan Water - 70
Logan Water, and Maggie Lauder 49
Loggan Burn - - 213
Logie o' Buchan - - 173
268
INDEX.
Page
Lord Breadalbines March 149
Lord Gregory - 61
Lord Ronald my son 165
Lord Thomas and fair Annet 224
Louis, what reck I by thee ? 191
Love is the cause of my mourning 93
Love will find out the way 109
Lovely Davies (" Miss Muir ") - 171
Lovely lass of Inverness (The) - 185
Lovely lass of Monorgon 108
Lovely Nancy - - S 2
Lovely Polly Stewart (Ye're welcome
Charlie Stewart
Lover's address to rose-bud (The)
Low down in the broom
Lowlands of Holland (The)
Lucky Nancy (Dainty Davie)
Lucy Campbel -
"M. Freicedan"
M 'Gregor of Roro's Lament
M'Pherson's farewell •
Maggie Lauder, and Logan Water
Magie's Tocher
Maid gaed to the mill (The)
Maid in Bedlam (The)
Maid of Selma (The)
Maid that tends the goats (The)
Maid's complaint (The)
Maltman (The)
Marquis of Huntly Reel
Mary of Castle Cary, or the Wee Thing
Mary Queen of Scots' lament -
Mary Scot
Mary's Dream
May morning
Merry hae I been teethin a heckle (Boddich
na' mbrigs, or Lord Breadalbine's
march)
Mill, mill, o' ! (The)
Miller (The) -
Miss Admiral Gordon's Strathspey
Miss Hamilton's delight
Miss Muir
Miss Weir
Morag -
Mother's lament for the death of her son
(A) (Finlayston House)
Moudiewort (The)
Mucking of Geordie's byar (The)
Muirland Willie • 37, 177
Musing on the roaring ocean (" Druimion
dubh ")
My ain kind deary O
My apron, dearie
My bony Mary
My boy Tammy
My collier laddie
My daddy left me, etc
My deary, if thou die -
My father has forty good shillings
My goddess woman ("The Butcher Boy")
My Harry was a gallant gay (Highlander's
lament) - - .
My heart's in the Highlands (Failte na
miosg) - - 145
My Jo Janet - 94
My lady's gown there's gairs upon't 229
205
141
85
95. 98
68
149
9i
118
95
49
136
208
7i
99
69
94
195
126
198
186
81
69
229
149
140
101
98- 137
■ 118
171
184
107
149
172
119
72
87
136
216
174
222
83
200
159
129
Page
My lodging is on the cold ground - 1 48
My Lord Aboyn's Ayre 58
My lov'd Celestia ( " Benny side ") J 10
My love has forsaken me 109
My love is lost to me - 145
My love she's but a lassie yet 133
My love shoe winns not her away 98
My Mary dear departed shade (Captain
Cook's death, etc) - - 152
My minnie says I manna 203
My Mither's ay glowrin' o'er me 30
My Nannie O ■ 236
My Nanny O 85
My Peggy's face 214
My tocher's the Jewel - 161
My wife hae taen the gee 187, 262
My wife's a wanton wee thing 131
N. Gow's lamentation for Abercairny 124
Nae luck about the house, when our good
wife's awa - 240
Nancy's Ghost ("Bonie Kate of Edin-
burgh ") 124
Nancy's to the green-wood gane 72
Nelly's dream - 239
Nithsdall's welcome hame 176
No churchman am I - 238
No dominies for me, laddie 211
Northern lass (The) 99
Now bank and brae - - 220
Now westlin' winds ( ' ' Come kiss wi' me,
come clap wi' me) 171
O as I was kist yestreen 163
O ay my wife she dang me 223
O Bothwell bank 218
O can ye sew cushions 198
O can you labor lea, young man 183
O cherub content - 218
" O dear mother, what shall I do " 137
O ! dear, what can the matter be 212
O fare ye weel, my auld wife 172
O for ane and twenty Tam (" The
Moudiewort") - 172
O gin I were fairly shot o' her 230
O gin my love were yon red rose 239
O gin ye were dead, gudeman 187
O gude ale comes, etc - - 226
O heard ye e'er of a silly blind harper 236
O Jean, I love thee - 73
O ken ye what Meg o' the mill has gotten ? 232
O Kenmure's on and awa, Willie 174
O' laddie I maun lo'e thee 160
O lay thy loof in mine, lass 234
O leave novels, etc - 234
O Mally's meek, Mally's sweet 240
O Mary turn awa 225
O Mary ye's be clad in silk - 237
O May thy morn 203
O Minie - 138
O mither dear ("Jenny dang the weaver") 102
O once I lov'd - - 228
O saw ye my Father - 82
O steer her up and haud her gaun 216
O tell me my bonny, etc - 225
O that I had ne'er been married - 239
O turn away those cruel eyes - 237
O' were I on Parnassus hill (My love
is lost to me) - - - 145
INDEX.
269
Page
O'er Bogie 116
O'er the hills and far away 77
O'er the moor among the heather 165
O'er the moor to Maggy 74
O'er the water to Charlie 121
Oh ono chrio ■ 85
On a bank of flowers - 133
On a rock by seas surrounded (Ianthy
the lovely) - - - 92
On hearing a young lady sing 198
On the death of Delia's linnet - - 183
On the Restoration of the forfeited estates,
1784 (As I came in by Auchindown) 157
Oran Gaoil - - 150
Orananaoig : or the song of death (A
Gaelic air) - 181
Oscar's Ghost 80
Our goodman came hame at e'en 201
Out over the Forth, etc 193
Patie's wedding 181
Peas strae - 159
Peggy I must love thee - 42, 61
Peggy in Devotion 186
Petticoat loose - 54
Pinky House • 74
Ploughman (The) 1 14
Pol wart on the green 120
Poor pedlar (The) 232
Poor Thresher (The) 178
Posie (The) 178
Put the gown upon the Bishop 200
Put up thy Dagor Jennie 1 34
Rain rins down (The), etc 236
Rantin' Dog the Daddie o't (The) ("East
nook o' Fife") 151
Rantin' laddie (The) 203
Rattlin' Roarin' Willie ■ 123
Raving winds around her blowing
(M'Gregor of Roro's lament) 118
Red gleams the sun 216
Red Red Rose (A) 185
Reel o' Stumpie (The) 201
Return hameward 229
Rinaway bride (The) - 206
Rinn mi cudial mo mhealladh 170
Robie Donna gorach 1 56
Robin shure in hair'st 226
Rock and wee pickle tow 197
Rory Dall's port - 170
Rose bud by my early walk (A) 122
Roslin Castle - - 62
Row saftly, thou stream 217
Rowin't in hei apron (The) . 193
Roy's wife of Aldivalloch . . 169
Ruffian's Rant . . .111
Sae far awa . . . .200
Sae merry as we twa hae been . . 76
Sandy and Jockie . 'S3
Sandy o'er the lee . • 'S°
Sarsfield's Lamentation . . 261
St Kilda Song . . . 140
Saw you my father ? . . -54
Saw ye Johnnie cummin ? quo she . 62
Saw ye nae my Peggy . 62
Saw ye the Thane o' meikle pride 235
Sawnies Pipe . . • .127
Scenes of woe and scenes of pleasure . 219
Page
Scots Jenny ....
128
Scots Musical Museum
60
Scots Queen ....
122
Scots Recluse .
127
Scroggam ....
225
Sensibility how charming
166
Seventh of November .
•33
She rose and let me in
35. 84
She says she lo'es me best of a'
199
Shepherd Adonis (The)
112
Shepherd's preference (The)
152
Shepherd's wife (The) .
'75
She's fair and fause, etc
184
Sic a wife as Willie had
179
Siller Crown (The)
139
Since Ccelia's my foe
261
Since robb'd of all that charm'd my view
s
(Miss Hamilton's delight) .
118
Slave's lament (The) .
181
Sleepy body
182
Sir John Malcolm
201
Sir Patrick Spens
209
Soger laddie (The)
164
Song of Selma .
■ H5
Song of Selma (The) .
100
Souters 0' Selkirk (The)
197
Southland Jenny (A)
159
Spanish Lady (The)
59
Spanishe Ladie (The) .
59
Stay, my charmer, can you leave me
?
(" An Gille dubh ciar dhubh ")
103
Stern winter has left us
222
Strathallan's lament
104
Strephon and Lydia (The Gordons has
the guidin' o't)
92
Such a parcel of rogues in a nation
180
Sun in the west (The) .
225
Sure my Jean .
• 233
Sweet Anny frae the sea-beach came
84
Sweetest May -
231
Tak your auld cloak about ye
144
Talk not of love, it gives me pai
1
("Banks of Spey")
121
Tam Glen
157
Tam Lin
187
Tarry Woo
70
Taylor (The) -
211
Taylor fell thro' the bed, etc. (The)
130
Tears I shed (The), etc.
168
Tears of Scotland (The)
106
Tell me, Jessy, tell me why
241
Then guidwife count the lawin'
161
Theniel Menzies' bonie Mary(" Ruffian'
s
Rant ")
III
There grows a bonie brier bush, etc.
212
There was a bonie lass -
237
There was a silly shepherd swain
207
There was a wee bit wiffikie - 211, 263
There'll never be peace till Jamie come
s
hame
162
There's a youth in this city (a Gaelic ail
) 145
There's fouth of braw Jockies
200
There's my thumb, I'll ne'er beguile the
e 78
There's nae luck about the house
70
There's news, lasses, news
238
There's three gude fellows ayont yon glen 198.
This is no mine ain house
131
270
INDEX.
Page
Tho' for seven years 217
Thou art gane awa 167
Thro' the wood laddie - 1 10
Thy cheek is o' the rose's hue - 223
Tibbie Dunbar ("Johnny M'Gill ") 128
Tibbie Fowler ■ 197
Tibbie, I hae seen the day ("Inver-
cauld's Reel ") 124
'Tis nae very lang sinsyne 228
Tither morn (The) ■ 169
To a blackbird (" Scots Queen ") 122
To daunton me - 120
To me what are riches? ("Here's a
health to my true love," etc.) 115
To the rose bud 166
To the weaver's gin ye go 92
Todlen hame 151
Tranent muir 91
Tullochgorum - 155
Tune your fiddles, etc. ("Marquis of
Huntly Reel ") 126
Turnimspike (The), Clout the caldron 65
'Twas at the shining mid-day hour 220
Tweed side 68
Twine weel the plaiden 67
Up and warn a', Willie 122
Up in the morning early 28, 106
Vain pursuit (The) 167
Wae is my heart 206
Waefu' heart (The) 140
Waly, Waly 112, 199
Wantoness for ever mair 193
Wap at the widow, my laddie 101
Wauking of the fauld (The) 85
Waukrife Minnie (A) 155
Weary pund o' tow 171
Wedding-day (The) - 107
Wee Thing (The), or Mary of Castle Cary 198
Wee, wee man (The) 177
Wee Willie Gray 219
We'll put the sheep-head in the pat 208
Were na my heart light, I wad die 100
Wha is that at my bower door 167
Wha wadna be in love, etc. 226
Whar' Esk its silver stream _ 216
What ails the lassie at me? - - 225
What can a young lassie do wi' an auld
man - - 162
What will I do gin my hoggie die? 104, 261
What's that to you - - 233
When absent from the Nymph (O Jean,
I love thee) - - 73
When Guildford good our pilot stood
("M. Friecedan") 91
Page
When I gaed to the mill 216
When I think on my lad 228
When I upon thy bosom lean (" Scots
recluse ") - - 127
When she cam' ben, she bobbed 172
When the days they are lang - 219
Where braving angry winter's storms
(N. Gow's lamentation for Abercairney) 124
Where Helen lies 1 10
Where wad bonie Annie ly 164
Where winding Forth adorns the vale
("Cumbernauld House") - 106
While hopeless, etc. 183
Whistle (The) 162
Whistle an I'll come to you, my lad 92
Whistle o'er the lave o't 143
White Cockade (The) 150
Why hangs that cloud ? (Hallow Ev'n) 105
Widow, are ye waking - 195
Will ye go and marry Katie ? 202
William and Margaret 224
William's Ghost 175
Willie Brew'd a peck o' maut 156
Willy was a wanton wag 105
Willy's rare, and Willy's fair 221
Wilt thou be my dearie ? 205
Winter it is past 1 25
Winter of Life (The) 210
Within a mile of Edinburgh 71
Woe's my heart that we shou'd sunder - 103
Woman's Work is never done 59
Woman's work will never be done 59
Woo'd and married and a' - 53, 62
Wren's Nest (The) - 186
Wren (The) or Lennox love to Blantyre 209
Ye banks and braes o' bonny Doon 55
Ye Gods, was Strephon's picture blest
("14th of October") 118
Ye Jacobites by name - 177
Ye muses nine, O lend your aid 239
Yellow-hair'd laddie (The) 100
Ye're welcome Charlie Stewart 205
Yon wild mossy mountains 166
You ask me charming fair 232
Young Damon ("Highland lamentation") 119
Young Highland rover (The) (" Morag ") 107
Young Jamie, pride of a' the plain
(" Carlin of the glen (The) ") 192
Young Jockey was the blythest lad 154
Young laird and Edinburgh Katy (The) 117
Young man's dream (The) - 102
Young Philander 133
ERRATA.
Page 10, line 2, for "son " read " nephew."
Page 11, line 4, for "son" read " nephew. "
Page 103, last line, for "Always" read " Aways."
Page 195, line 23, for "following" read "above."
INDEX.
271
INDEX OF COMPARATIVE AND
REFERENCE TUNES.
Page
Auld Lang Syne . . 66, 189
The Millers Daughter.
Overture.
Sir Alexander Don.
Auld Rob Morris . . .123
Jock the Laird's Brother.
Battle of Hardlaw (The) 218
The Battle of Hara Law.
Bonnie Dundee .45, 91
Bonny Dundee.
Adew Dundie.
Broom of Cowdenknows (The) . . 35, 79
Calder Fair . . . .32
By the Border side as I did pass.
Cauld is the e'enin' blast . 28, 237
Peggy Ramsey.
Magie Ramsay.
Corn Riggs . . • 5'. 87
Sawney was tall.
Duke of Albany (The) ... 58
My Lord Aboyns Ayre.
Duncan Davison . . 108
Strict upon a Strogin.
Dusty Miller (The) . 41, 107
Binny's Jigg.
For Lake of Gold . . . 114
Highland Laddie (various) . . 242
How long and dreary is the night 118, 262
I lo'e na a laddie but ane . . 147-8
My Lodging is on the cold ground . 148
I'll never love thee more . 31, 200
Montrose Lyns.
John Anderson my Jo . . 25, 146
I am the Duke of Norfolk.
Paul's Steeple.
John come kiss me now 27, 159
Katherine Ogie 48, 1 H
Lady Catharine Ogle, a new Dance.
A Scotch Tune.
Kind Robin looes me . . . 207
Kind Robin . .208
Lashley's (Leslie's) March — General
Lesley's March . 4°
In January last.
A Scotch Tune.
Lady Binny's Lilt.
Lennox love to Blanter . 209
Lochaber no more . 89, 261
King James' March to Ireland.
Reeves Magot.
King James' March.
Logie o' Buchan . . . 173
Tak tent to the Rippells Gudeman.
Beware of the Ripples.
Page
Lovely Nancy . . -S3
Over hills and high mountains.
Lowlands of Holland (The) . . 95, 98
Alace I lie my alon, I'm like to die
awld.
Miss Admiral Gordon's Strathspey.
Low Land of Holand . . .98
My love shoe winns not her away.
Muirland Willie . . 38,177
Northern Lass.
An old English Air.
The Northern Lass.
My Love she's but a lassie yet . . 133
Put up thy Dagor Jennie . . 134
My Mither's ay glowrin' o'er me . 30
A health to Betty.
A health to Betlie.
Fourpence halfpenny.
My Peggy's face, my Peggy's form . 215
Ha a Chaillich air mo dheidh.
My wife has ta'en the Gee . 187, 263
O dear Mother what shall I do . 137
Minie . . . .138
Peggy I most love thee . . 43, 61
A Scotch Tune in Fashion.
Yet Meggie I must love thee.
Magie I most love thee.
The Deel assist the plotting Whigs.
She rose and let me in . . . 36, 84
The Fair one let me in.
Sic a wife as Willie had . 179
Blue Britches.
Since Coelia's my foe . .261
Spanishe Ladie (The) . . 59
The Spanish Lady.
Tibbie Dunbar. Tune— Johnny M'Gill 128
The Jigg of Johnny Mac gill.
Up in the Morning . . 29, 106
Stingo or The Oyle of Barly.
Northern Catch.
Cold and Raw.
Where Helen lys . .111
Widow gin thou be waking . .195
Willy's rare, and Willy's fair . .221
Sweet Willy . . . 222
Woe's my heart that we shou'd sunder . 103
Aways my heart that we mun sunder. 104
Woman's work is never done . . 59
Woman's work will never be done.
Woo'd an' Married an' a' . . S4i 62
/ made love to Kate.
In the above Index the popular title is always given first.
EDINBURGH : PRINTED BY DAVID MACDONALD, 42 HANOVER STREET.
ADDENDA.
Since the completion of the preceding work the author has fortunately-
secured a copy of the first Edition of " Herd," the title page of which runs —
" The Ancient and Modern Scots Songs, Heroic Ballads, &c. Now first
Collected into one Body, from the various Miscellanies wherein they
formerly lay dispersed. Containing likewise, a great number of original
songs, from Manuscripts, never before published. Edinburgh : Printed by
and for Martin & Wotherspoon, MDCCLXIX." This Edition is exceed-
ingly rare, and the present author has ascertained from the catalogues
and by personal inquiry that no copy is possessed by the Advocates' or
any other public library in Edinburgh. He finds on collation of the two
editions that Stenhouse's references to Herd in his " Illustrations to the
Scots Musical Museum" require correction in the following important
particulars : — ■
I. Songs stated by Stenhouse to have bee n published in Herd's second
Edition of 1776, but which really appeared in the first Edition of
1769 ;— Nos. 1, 4, 8, 114, 135, 162, 185, 219, 297, 300, 306, 452,
455, 474, 477, 496, 550, 595, 596.
IT. Songs stated by Stenhouse to have been published in Herd's first
Edition of 1769, but which appear only in the 1776 Edition:
Nos. 23, 115, 370.
*™ " ' ' 'V " " *" ""V ' *
BSr Song noted by Stenhouse as appearing in a street ballad in 1771, but
which is included in Herd's first Edition of 1769 : No. 44.
"With reference to the note on page 54 of the present work, we find
Chappell's insinuation, that Herd annexed and Scottified the song No. 76
from William Horsfield's Edition of 1 772, to be without foundation. The
song is included in Herd's Edition of 1769. It is clear therefore that
Horsfield was indebted to Herd, and not Herd to Horsfield.
"The Ploughman," No. 165. There can be no doubt that Herd's
version of this song, which appears in both his Editions, is superior to either
the " Museum " or the " Perth " Examples.
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